ARP  OF  LIFE: 


LEY  MANNERS 


760 


DRAMATIC  WORKS  OF  J.  HARTLEY  MANNERS 


THE  HARP  OF  LIFE 


'Love  took  up  the  Harp  of  Life  and  smote 
on  all  the  chords  with  might! 

Smote  the  chord  of  Self  that,  trembling, 
passed  in  music  out  of  sight/' 


BY  J.  HARTLEY  MANNERS 

Three  Plays 

God's  Outcast:    All  Clear  and 
God  of  My  Faith 

Peg  0'  My  Heart 

A  Novel  on  the  Comedy 

Happiness 

and  Two  Other  Plays 

Wreckage 

A  Drama  in  Three  Acts 

Out  There 

A  Dramatic  Composition  in 
Three  Parts,  on  the  World  War 

The  Wooing  of  Eve 
A  Comedy  in  Three  Acts 


•    a      • 

'    •     »  • 


LAURETTE   TAYLOR   AS        SYLVIA 


THE  HARP  OF  LIFE 

A  PLAY 

BY 

J.  HARTLEY  MANNERS 


NEW   X5T    YORK 
GEORGE  H.  DORAN  COMPANY 


COPYRIGHT,  1921, 
BY  J.  HARTLEY  MANNERS 

ALL  RIGHTS   RESERVED,   INCLUDING  THOSE 
OF    TRANSLATION 


PRINTED  IN  THE  UNITED  STATES  OF  AMERICA 


TO 

THE    ORIGINATOR    OF    THE    PART    OP 

SYLVIA:   LAURETTE    TAYLOR 

I    GRATEFULLY    DEDICATE    THIS    PLAY 

The  Author 


6C 


[Reproduction  of  Original  Programme] 

Produced  at  the  Globe  Theatre,  New  York, 
on  Monday,  November  27th,  1916. 

Klaw  &  Erlanger  and  George  C.  Tyler 
Present 

LAURETTE  TAYLOR 

IN 

THE  HARP  OF  LIFE 

A  Play  in  Three  Acts 
By  J.  Hartley  Manners 

"Love  took  up  the  Harp  of  Life  and  smote  on  all  the 
chords  with  might ! 
Smote  the  chord  of  Self  that,  trembling,  passed  in  music 
out  of  sight." 

Produced  under   the  personal   direction   of   the  Author 


[Original  Programme:  Continued] 


The  People  of  the  Play 

sylvia  Miss  Laurette  Taylor 

zeila  vorona  Miss  Gail  Kane 

Elizabeth  hood  Miss  Ffolliot  Paget 

olive  hood  Miss  Lynn  Fontanne 

Marshall  brooke  Mr.  Philip  Merivale 

Leonard  brooke  Mr.  Dion  Titheradge 

Godfrey  saxon  Mr.  Frank  Kemble  Cooper 

The     First    Act  —  boyhood 
The  Second  Act  —  adolescence 
The    Third    Act  —  manhood 

The  incidents  of  the  first  two  acts  occur  in  the  home 
of  the  Brooke  family:  the  last  act  at  Mrs.  Vorona's 
residence. 

The  entire  action  of  the  play  happens  within  twenty- 
four  hours. 


CONTENTS 

PAGB 

Act  I:       BOYHOOD 13 

Act  II:     ADOLESCENCE 94 

Act  III:  MANHOOD 153 


IX 


THE  PEOPLE  OF  THE  PLAY 

Sylvia 

Zeila  Vorona 
Elizabeth  Hood 
Olive  Hood 
Marshall  Brooke 
Leonard  Brooke 
Godfrey  Saxon 

The  incidents  of  the  first  two  acts  occur  in  the  home 
of  the  Brooke  family;  the  last  act  at  Mrs.  Vorona's 
residence. 

The  entire  action  of  the  play  happens  within  twenty- 
four  hours. 


Written  1916 


THE  HARP  OF  LIFE 


THE  HARP  OF  LIFE 


Act  I:     BOYHOOD  /.:..:  :*  ' 

A  large,  well- furnished  room  in  the  country  home  of  the 
Brooke  family.  The  colouring  is  pink  and  grey.  As 
you  look  at  the  stage  you  see  two  large  windows  on 
your  left  at  the  back  of  the  room  opening  on  to  a 
roomy  porch.  Next  to  the  windows  to  your  left  is  a 
door  leading  to  the  other  rooms  of  the  house.  On 
your  right  at  the  back  of  the  room  is  another  door 
leading  into  the  entrance-hall. 

The  furnishing  of  the  room  is  simple,  comfortable  and 
tasteful.  The  colour-scheme  of  pink  and  grey  has 
been  carefully  and  completely  emphasised. 

It  is  afternoon  in  early  summer.  The  sun  is  flooding  in 
through  the  open  windows. 

A  telephone-bell  can  be  heard  ringing  for  some  seconds 
before  the  curtain  rises.  When  it  ascends  the  room  is 
empty. 

You  then  see  that  the  telephone  is  on  a  small  table  at  the 
back.  It  continues  to  ring  fitfully.  After  a  while, 
[13] 


THE  HARP  OF  LIFE 

as  though  the  operator  at  the  other  end  despaired  of 
attracting  attention,  it  stops. 

Through  the  open  windows  can  be  heard  the  sound  of 
several  voices  punctuated  with  hearty  laughter. 

On  to  the  porch  and  into  the  room  energetically  walks 
Marshall  Brooke,  a  tail,  studious,  somewhat  grave 
man,  a  little  over  forty,  followed  by  his  son  Leonard, 
a  bright,  alert  handsome  boy  of  nineteen.  Both  are 
in  riding-kit:  heated,  somewhat  breathless  and  evi- 
dently enjoying  a  very  recent  humorous  incident. 

The  boy  turns  on  the  porch  and  laughs  at  someone  in  the 
near  distance.  Brooke  throws  his  cap  and  whip  onto 
a  seat  and  joins  his  son,  laughing  heartily  and  mopping 
himself  generously  with  a  handkerchief.  They  both 
look  off  at  the  unseen  butt  of  their  shafts  of  humour, 

LEONARD 

You  did  pick  a  soft  spot  to  fall  on. 

BROOKE 

And  you  fell  very  gracefully. 

LEONARD 

You  mustn't  be  discouraged.     He  is  quite  easy  to  sit 
on  when  you  understand  horses. 

BROOKE 

I'll  show  you  in  the  morning.     Poor  Sylvia. 

LEONARD 

Poor,  dusty  mother. 

[Onto  the  porch  comes  Sylvia,  a  slim,  graceful,  sym- 
pathetic woman  of  thirty-six,  looking  many  years 
[14] 


Act  I:    BOYHOOD 

younger.  She  is  wearing  a  well-fitting  riding-habit 
which  throws  into  relief  her  trim  figure  and  girlish 
face.  She  is  extremely  dusty  all  down  the  right 
side  of  the  habit  and  the  right  sleeve.  She  is 
straightening  a  dent  out  of  her  hard  felt  riding- 
hat,  is  somewhat  red  from  exertion,  nervous  from  a 
fall,  and  a  little  irritated  at  being  chaffed.] 

SYLVIA 

[Aims  a  blow  at  Leonard  who  runs  nimbly  into  the 
room.  She  follows  him.]  I  suppose  you  have  never 
had  a  tumble? 

LEONARD 

Never,  since  I  left  riding-school. 

SYLVIA 

[Turns  to  her  husband  who  is  chuckling  insanely  as  he 
looks  at  his  wife.]  I  don't  see  anything  particularly 
funny  in  it. 

BROOKE 

You  would  have  if  you  could  have  seen  yourself.  It 
was  the  neatest  thing  in  tumbles  outside  of  a  circus. 

LEONARD 

This  is  what  you  did.  Look.  [Gives  an  imitation, 
with  the  aid  of  a  chair,  of  Sylvia  riding  at  a  gate,  the 
horse  stopping  and  the  fair  rider  going  clear  over  the 
horse's  head  and  falling  on  her  right  side.  He  matches 
word  with  action.]  Gee  up!  Over,  lad!  Heavens! 
Down !     [Looks  up  from  the  floor  at  his  father,  rubbing 

[15] 


THE  HARP  OF  LIFE 

his  elbow  on  which  he  had  fallen  heavily  in  his  zeal  for 
portrayal.]      Eh,  father? 

BROOKE 

Pretty  good.  Sylvia  was  more  graceful  and  chose  a 
softer  spot. 

SYLVIA 

Only  a  male  animal  would  do  such  a  thing.  Throw 
a  woman.     Beast.     He  shied  at  the  bushes. 

BROOKE 

Poor  "Gypsy."     Such  a  mild  animal,  too. 

LEONARD 

What  did  you  do  to  him? 

SYLVIA 

Nothing.  He  simply  wouldn't  jump.  Stopped  dead 
— and  off  I  came.  [The  two  men  laugh  heartily.]  If 
it's  so  amusing  I  wonder  you  don't  go  to  hospitals  for 
entertainment.     The  accident-wards  for  preference. 

LEONARD 

[Quizzingly.]     Do  you  think  it's  age,  father? 

BROOKE 

Yes.     And  weight. 

LEONARD 

She's  losing  her  "hands." 

BROOKE 

All  women  do  after  a  certain  age. 

LEONARD 

She  can't  judge  distance  any  more. 
[16] 


Act  I:    BOYHOOD 

BROOKE 

Weight  will  handicap  any  horse. 

LEONARD 

Poor  old  mother. 

BROOKE 

Poor  heavy  old  lady. 
[Father  and  son  sigh  heavily.'] 

[Sylvia  gives  them  a  scornful  look  as  she  removes  her 
gauntlets  and  puts  them  with  her  hat  on  a  table,'] 

LEONARD 

[Dancing   gleefully   and   mischievously.]     She's    got 
the  needle !     Mother's  got  the  needle ! 

BROOKE 

Dear,  dear.     Temper.     Really. 

LEONARD 

This  is  fun.     Fancy  being  angry  because  a  quiet  old 
horse  tossed  her! 

SYLVIA 

I'm  not  angry  and  he's  not  a  quiet  old  horse. 

LEONARD 

I  believe  she's  going  to  cry. 

BROOKE 

Oh,  my  boy,  the  best  of  us  have  to  give  in  to  advanc- 
ing years  and  tonnage. 

LEONARD 

Never  mind,  mother.     We'll  get  you  a  nice,  docile 
old  mare. 

[17] 


THE  HARP  OF  LIFE 

BROOKE 

Driving  is  safer — if  someone  else  holds  the  reins. 

SYLVIA 

Do  you  really  think  I  couldn't  make  him  go  over  that 
stupid  little  fence? 

LEONARD 

I  know  you  couldn't. 

SYLVIA 

[To  her  husband.]     And  you? 

BROOKE 

Well,  my  dear!     You  didn't. 

[Sylvia  goes  quickly  to  the  windows. ,] 

BROOKE 

Where  are  you  going? 

SYLVIA 

To  the  stable. 

BROOKE 

What  for? 

SYLVIA 

I'm  going  to  take  "Gypsy"  up  the  same  run  and  over 
the  fence. 

BROOKE 

Don't  be  ridiculous. 

SYLVIA 

I  am. 

LEONARD 

What  nonsense,  mother.     We  were  only  rotting. 

BROOKE 

Of  course  we  were.     Just  chaffing. 
[18] 


Act  I:    BOYHOOD 

LEONARD 

Silly  old  mother.     You  didn't  think  we  were  serious? 

SYLVIA 

It's  the  first  time  I've  been  thrown  since  I  was  a  girl. 

LEONARD 

They   play   sky-rockets   with   me.      [To  his   father.] 
Don't  they? 

BROOKE 

Always.     And  when  I"  come  off  I  cover  much  more 
ground. 

SYLVIA 

You  should  have  said  all  that  before.     I'm  going  to 
take  him  over  that  fence. 

BROOKE 

Later.     Not  now.     You're  hot — and  nervous. 

LEONARD 

And    dusty.     Look    at    that    dust!     Half    a    minute. 
Don't  move.     I'll  soon  get  rid  of  that.     [Runs  off.] 
[Sylvia  goes  to  the  window.     Her  husband  stands  in 
front  of  her.] 

BROOKE 

Please  don't  go. 

SYLVIA 

You   don't  think   I'm  growing  too  old  to   ride? 

BROOKE 

[Laughs.]      Of  course  I  don't. 

SYLVIA 

[Smiles.]     And  I'm  not  fat,  am  I? 
[19] 


THE  HARP  OF  LIFE 

BROOKE 

Don't  you  know  when  you're  being  jollied? 

SYLVIA 

Not  about  my  age — and  my  weight.  They're  no  joke 
to  a  woman.  I  hate  the  idea  of  getting  heavy,  and — 
I'm  a  year  older  to-day. 

LEONARD 

[Rushing  in  with  a  clothes  brush.]  Here  we  are. 
[Brushes  her  sleeve  and  skirt  briskly.]  In  a  couple  of 
shakes  no  one  would  know  you  ever  had  a  speck  of  dust 
on  you.     There  we  are.     Spick  and  span.     How's  that? 

SYLVIA 

[Smiles  at  him  and  pinches  his  cheek.]  Thank  you, 
dear. 

LEONARD 

She's  melting,  father.  Say  something  funny  and 
make  her  laugh.     Laugh  for  us,  mother. 

[Sylvia  grimaces  at  him,  then  laughs  foolishly.] 

LEONARD 

Hurrah!     All  over? 

SYLVIA 

Yes. 

BROOKE 

I  apologised.     Grovelled.     You  do  the  same. 

SYLVIA 

He  says  I'm  not  fat — nor  old. 

BROOKE 

Go  on,  my  lad.     Down  on  your  knees. 
[20] 


Act  I:    BOYHOOD 

LEONARD 

[Kneeling.']  I  apologise — and  grovel.  Old?  Why, 
you  look  as  a  girl.  And  there's  many  a  wench  of  eigh- 
teen might  envy  you  that  figure. 

BROOKE 

[Severely.]      Wench? 

LEONARD 

Yes.     Old   English,  father. 

BROOKE 

Not  before  your  mother,  my  boy.  Really.  Wench! 
Oh,  no. 

LEONARD 

I  withdraw  wench,  mother. 

SYLVIA 

[Laughs;  holds  out  her  left  hand  to  her  husband  and 
her  right  to  her  son.]  You  are  both  forgiven.  [Shiv- 
ers.] Age  and  weight!  I've  been  hiding  one  and  try- 
ing to  keep  off  the  other,  for  your  sakes,  for  years. 

LEONARD 

[Remembers  something.]     Oh!     What  an  ass! 
[Rushes  off.] 

SYLVIA 

I'll  never  ride  that  little  beast  again.  Suppose  he'd 
dragged  me?  I  might  have  been  disfigured.  [Shiv- 
ers.] Then  you  and  Leonard  wouldn't  be  so  proud 
of  me. 

BROOKE 

Don't  be  morbid,  Sylvia.  I  beseech  you  do  not  be 
morbid. 

[21] 


THE  HARP  OF  LIFE 

SYLVIA 

I'm  only  vain  of  my  looks  because  you  and  Len  are. 
[Smiles  as  she  recalls.]      Do  you  remember  him  coming 
home  from  school  when  he  was  quite  small  and  saying 
solemnly  that  he  was  so  very  glad  I  "didn't  have  'box- 
pleats'  in  my  face  like  some  of  the  boys'  mothers"? 
[She  imitates  Leonard's  childish  voice  as  it  was  at 
that  time  and  reproduces  in  pantomime  a  picture  of 
the  mothers  referred  to.] 

BROOKE 

We  both  spoil  you.  Ah !  And  that  reminds  me.  I'm 
going  to  spoil  you  now.  I've  a  birthday  present  for 
you.     Here. 

[Takes  a  package  from  his  pocket  and  hands  it  to 
her.] 

SYLVIA 

[Her  face  lights  up  as  she  takes  the  package.]  The 
only  nice  things  about  birthdays — at  my  age — are  the 
presents.     I  was  so  afraid  you'd  forgotten. 

BROOKE 

Many  happy  returns. 

SYLVIA 

[Opening  the  case  and  revealing  a  pearl  necklace.] 
What  a  dear!     Pearls!     [Holding  it  up.]     It's  per- 
fectly heavenly. 

BROOKE 

You  must  wear  it  to-night.    We're  all  going  to  the 

[Leonard    staggers    in   with    a   folding   step-ladder, 
making  considerable  noise.     He  places  it  under  a 
[22] 


Act  I:    BOYHOOD 

pink  and  grey  bowl  of  flowers  suspended  from  the 
ceiling.  ] 

BROOKE 

What  are  those  for? 

LEONARD 

[Hurrying  out.']     Wait  a  minute.     Don't  touch  them. 

SYLVIA 

[Looking  at  the  necklace  from  different  angles.] 
They're  exquisite.  I've  always  wanted  one  'like  this. 
How  did  you  guess?     I  love  pearls. 

BROOKE 

Most  women  do. 

SYLVIA 

How  do  you  know? 

BROOKE 

[Severely.]     Never  mind. 

[Placing  it  around  her  neck.]  Fasten  it.  [As  he 
fastens  it  she  croons  softly.] 

"The  hours  I've  spent  with  thee,  dear  heart, 
Are  as  a  string  of  pearls  to  me." 
[They  both  laugh.]     Do  you  know  this  is  the  twenty- 
third  necklace  you've  given  me? 

BROOKE 

Is   it,  really? 

SYLVIA 

Do  you  give  them  because  you  like  my  neck  or  to 
cover  it  up? 

[23] 


THE  HARP  OF  LIFE 

BROOKE 

Because  I  love  it.  [Kisses  the  back  of  her  neck.] 
I  want  you  to  wear  it  to  the  theatre  tonight.  I  have 
seats  for  the  three  of  us. 

SYLVIA 

That  will  be  lovely. 

LEONARD 

[Rushes  in  excitedly  with  a  large  parcel  which  he 
places  on  the  lounge  and  begins  to  struggle  with  the 
wrapper.]     Take  that  bowl  down,  someone. 

BROOKE 

Why? 

LEONARD 

Because  I've  another  one  here.     A  real  one. 

SYLVIA 

[Goes  to  him;  quite  interested.]  Have  you?  What 
kind? 

LEONARD 

[Still  struggling  with  the  parcel.]  Take  that  down 
first.     Then  I'll  show  you. 

[Sylvia  goes  to  the  ladder  and  mounts  it.] 

BROOKE 

I'll  do  it. 

SYLVIA 

Oh,  no.  I  put  it  up  here.  A  long  time  ago.  [Takes 
bowl  off  the  hook  and  hands  it  to  Brooke.]  Do  you 
remember  ? 

[Brooke  nods  and  places  bowl  on  a  chair.] 
[24] 


Act  I:    BOYHOOD 

LEONARD 

[Producing  from  the  wrapping  a  much  larger  and 
more  ornate  bowl  which  he  holds  high  above  his  head.] 
There!     How's  that? 

SYLVIA 

Oh!     Purple! 

LEONARD 

[Anxiously.]     Do  you  like  it? 

SYLVIA 

I  love  it. 

LEONARD 

[To  his  father.]      Do  you? 

BROOKE 

[Tolerantly.]     Very  nice  indeed. 

LEONARD 

[Disgustedly.]  "Very  nice  indeed!"  Why,  it's 
magnificent.     Have  you  ever  seen  one  like  it? 

BROOKE 

Very  likely. 

LEONARD 

[Angrily.]      Where? 

BROOKE 

Oh,  here  and  there. 

SYLVIA 

Well,  I've  never  seen  one  quite  like  it. 

LEONARD 

[Handing  it  up  to  her.]  I  should  think  not.  I  had 
it  made  for  you. 

[25] 


THE  HARP  OF  LIFE 

SYLVIA 

[Hanging  it  on  hook.]     Give  me  the  flowers. 

LEONARD 

[Taking  flowers  from  the  old  bowl;  looks  scornfully 
at  his  father.]      "Very  nice  indeed" !     You've  no  soul. 

BROOKE 

Not  for  bowls,  my  boy. 

LEONARD 

[Handing  the  flowers  up  to  Sylvia.]  I  love  pur- 
ple.    It  seems  to  call  out  to  you. 

SYLVIA 

[Arranging  the  flowers  in  the  new  bowl.]  What 
does  it  call  to  you? 

LEONARD 

It  seems  to  speak  of  pageants  and  ceremonials:  of 
wonderful  old  dead-and-gone  days  when  people  did 
things — big  things.  It's  the  colour  of  the  great.  It  is 
eloquent,  isn't  it? 

BROOKE 

[Laughingly,  as  he  fills  and  lights  his  pipe.]  You 
are,  my  lad. 

SYLVIA 

[Smiling  wistfully.]  Don't  you  like  my  quiet  col- 
ours any  more? 

LEONARD 

[Quickly.]     Oh,  they're  all  right. 

SYLVIA 

But  they  have  no  majesty?  [Her  head  on  one  side, 
she  looks  first  critically,  then  admiringly,  at  the  bowl.] 

[26] 


Act  I:    BOYHOOD 

You're  right.     It's  quite,  quite  unusual.     [To  Brooke.] 
Eh? 

BROOKE 

Very  nice  indeed. 
[Sylvia  laughs. ,] 

LEONARD 

[Gives  his  father  a  scornful  look,  then  holds  the  lad- 
der firmly  so  that  his  mother  may  descend. ,]  But  that 
isn't  all. 

SYLVIA 

Isn't  it?     [Half -slips.] 

LEONARD 

[Supporting  her.]      Take   care. 

SYLVIA 

[Reaches  the  ground  safely.]  That  was  close.  I 
nearly  fell  again. 

BROOKE 

You'd  better  keep  on  the  ground  for  the  rest  of  the 
day. 

SYLVIA 

[Loftily.]  That  wasn't  age  or  weight.  I  could  do 
that  when  I  was  ten.  [To  Leonard.]  So  that  isn't 
all? 

LEONARD 

Good  Lord,  no.  Not  half.  Barely  a  quarter.  Wait 
a  moment.     Don't  go  away.      [Rushes  out.] 

SYLVIA 

[Picks  up  the  old  bowl,  smiles  at  it.  Looks  up  at  the 
new  one  then  at  her  husband.     She  makes  a  rueful  face 

[27] 


THE  HARP  OF  LIFE 

at   the   startling  new  purple   bowl.']     It  does   seem  to 
talk,  doesn't  it,  Marshall? 

BROOKE 

Out  of  key. 

SYLVIA 

It  shocks.     Nice  old  bowl. 

[Takes  the  old  one  on  to  the  porch."] 

LEONARD 

[Totters    in    with    a    large    purple    folding-screen.] 
Where  are  you,  mother? 

SYLVIA 

[Re-appearing  from  porch.]     Here  I  am. 

[Looks  in  amazement  at  the  screen  which  Leonard 
has  now  opened  out  in  all  its  sections  and  is  survey- 
ing enthusiastically.] 

BROOKE 

Great  heavens! 

SYLVIA 

Purple! 

LEONARD 

[Triumphantly.]     Well?     How  do  you  like  it? 

SYLVIA 

It's  wonderful. 

[Sylvia  and  Leonard  turn  instinctively  to  see  the  ef- 
fect on  Brooke.] 

BROOKE 

[Nods  condescendingly.]     Very  nice.     Very  nice  in- 
deed. 

[28] 


Act  I:    BOYHOOD 

LEONARD 

[Scornfully.]  Nice!  Those  are  nice.  [Pointing  to 
articles  on  the  table,  then  looking  at  the  purple  screen 
rapturously.]     But — ah! 

SYLVIA 

Where  shall  we  put  it? 

BROOKE 

In  the  garage. 

LEONARD 

Where?     Why  in  place  of  that. 

[Points  to  the  old  pink  and  grey  screen.] 

SYLVIA 

Oh,  no,  Leonard.  It's  been  here  for  years. 

LEONARD 

Too  many.  Wait  until  you  see  this  in  its  place. 
[Looks  around  the  room  with  the  critical  eye  of  an  in- 
terior decorator.]  We'll  make  it  a  jolly  room  when  we 
follow  out  the  new  colour  scheme. 

BROOKE 

Jolly?     Awful. 

LEONARD 

[Scornfully.]      Napoleon   wept   over   purple. 

BROOKE 

[Looking  at  the  new  bowl  and  screen.]  And  well 
he  might. 

LEONARD 

Some  people  are  colour-blind.  It's  pathetic  what 
they  miss  in  life. 

[29] 


THE  HARP  OF  LIFE 

BROOKE 

Don't  you  patronise  me  or  I'll  throw  it  [pointing 
to  bowl]  on  the  ash-heap  and  make  that  horrible  screen 
into  firewood. 

LEONARD 

It's  dreadful  to  have  a  vandal  in  the  family.  How 
have  you  lived  with  him  all  these  years  in  all  this  ugli- 
ness? How  that  jars  now!  [Indicating  old  screen.] 
Out  with  it! 

[Closes  up  the  old  screen  and  goes  out  with  it.] 

SYLVIA 

[Arranges  the  purple  screen.]  Doesn't  it  make  you 
feel  old  having  the  room  changed? 

BROOKE 

You  shouldn't  encourage  him.     Dreadful  things. 

SYLVIA 

It's  his  individuality  asserting  itself. 

BROOKE 

Why  should  it  break  out  in  purple? 

SYLVIA 

Oh,  Marshall. 

BROOKE 

I  believe  if  he  re-did  the  room  in  canary-yellow 
you'd  breathe  a  deep  sigh  and  murmur  "Oh!  Yellow!" 
Such  nonsense. 

LEONARD 

[Hurrying  in;  looking  at  the  effect]  Ah!  that's 
better.     We'll  have  a  purple  carpet  and  purple  hang- 

[30] 


Act  I:    BOYHOOD 

ings [Alters   the   screen   to   his   liking.]     That's 

more  like  it.  To  think  a  majestic  colour  like  that  could 
bring  tears  to  the  eyes  of  an  emperor.      [Looks  at  his 

father.]      I  wish  I  could  teach  you  to [Brooke 

frowns  at  his  son,  takes  his  pipe  and  tobacco  pouch, 
goes  out  on  to  the  porch;  sits  and  smokes.  Leonard 
watching  his  father  go  out;  turns  to  Sylvia.]  It's 
pathetic.  You  have  to  be  born  with  a  sense  of  beauty. 
You  can't  learn  it. 

SYLVIA 

Where  did  you  learn  the  majesty  of  purple? 

LEONARD 

[Evasively.]     Oh,  I've  always  liked  it. 

SYLVIA 

You  never  seemed  discontented  with  my  colours  be- 
fore. 

LEONARD 

[Hurriedly.]  I'm  not.  Really.  This  is  the  first 
time  I've  been  able  to  give  you  a  real  present.  With 
my  own  money.  I'm  awfully  grateful  to  Uncle  Will 
for  leaving  me  such  a  nice  little  nest-egg.  I  forgive 
him  everything — even  for  painting  that  dreadful  picture 
of  me.  [Looking  up  at  a  portrait  in  oils  of  himself  at 
a  very  youthful  age,  hanging  high  on  the  wall.]  Was 
I  ever  like  that? 

SYLVIA 

It's  exactly  as  you  were  at  five. 
[81] 


THE  HARP  OF  LIFE 

LEONARD 

[Looking  at  it  disgustedly.}  Was  I,  really?  Why 
didn't  you  have  my  hair  cut? 

SYLVIA 

I  did.  [Laughs.]  When  the  barber  cut  off  one  long 
curl  I  picked  it  up  in  a  panic  and  tried  to  put  it  back 
again.     Really  I  did. 

LEONARD 

[Laughing  with  her.]     How  silly. 

SYLVIA 

I  loved  your  curls. 

LEONARD 

[Looks  at  the  picture  again.]  I  looked  like  a  girl. 
Well,  I'm  glad  I  didn't  stay  yellow.  Let's  put  it  in 
another  room.      [Starting  up.] 

SYLVIA 

No.  You  may  change  my  bowl  and  screen  and  pur- 
ple up  the  whole  room  but  that  stays  where  it  is. 

LEONARD 

Oh,  all  right.  But  it  does  make  you  rather  sick  when 
you're  grown  up. 

[Turns  away  from  it  with  a  shiver.] 

SYLVIA 

Olive  loves  it. 

LEONARD 

[  Uncomfortably.  ]     Oh  ? 

SYLVIA 

And  Olive  loves  you.  And  I'm  sure  you  love  Olive. 
Don't  you  ? 

[32] 


Act  I:    BOYHOOD 

LEONARD 

[Irritably.]   Now,  mother 

BROOKE 

[On  the  porch  calling  to  some  people  in  the  distance.] 
Hello.  How  are  you?  [Coming  into  the  room;  an- 
grily.]    Mrs.  Hood.     She's  got  into  the  garden  again. 

SYLVIA 

Bring  her  in,  dear.     Is  Olive  with  her? 

BROOKE 

Yes.     What  are  we  going  to  do? 

SYLVIA 

Make  them  welcome,  of  course.     Go  on. 

BROOKE 

[Disappears  into  the  garden  and  is  heard  calling.] 
Come  in  this  way.     I'll  open  the  gate. 

LEONARD 

What  in  the  world  have  they  come  for? 

SYLVIA 

What  has  Olive  come  for?  Why  have  you  changed 
your  tie  four  times  a  day  lately? 

LEONARD 

[Seriously  and  rapidly.]  I  have  a  great  deal  to  tell 
you,  mother.  I  wanted  to  get  you  alone  this  after- 
noon.    It's  a  shame  these  people  coming  in  like  this. 

SYLVIA 

They  may  not  stay  long. 

[S3] 


THE  HARP  OF  LIFE 

LEONARD 

But  I'm  going  up  to  town  by  the  four-something — 
twenty  or  thirty. 

SYLVIA 

[Very  disappointed.]  Oh,  no,  Leonard.  Not  on  my 
birthday.     You  mustn't. 

LEONARD 

That's  the  worst  of  it.  I  promised — oh,  a  long  time 
ago — to  dine  in  town  to-night. 

SYLVIA 

Can't  you  get  out  of  it? 

LEONARD 

[Quickly.']  No.  I  can't,  really.  I'd  like  to,  of 
course.     But  I've  promised. 

[The  voices  of  Brooke  and  the  newcomers  sound 
quite  near.  A  woman's  voice  says  distinctly: 
"Don't  shut  my  dress  in  the  gate."  A  girl's  voice 
replies:  "No,  mother."  Brooke  is  heard  welcom- 
ing them  with  much  heartiness. 

BROOKE 

Here  we  are.     And  very  nice,  too. 

LEONARD 

[Picks  up  the  wrappings  of  the  parcel  and  the  step- 
ladder  and  hurries  out.]  Awful,  breaking  in  on  us  like 
this. 

[Brooke  appears  on  the  porch  and  ushers  into  the 
room    Mrs.    Hood,   a   severely    respectable,   some- 
[34] 


Act  I:    BOYHOOD 

what  portly,  middle-aged  woman.  She  is  breath- 
ing heavily  from  a  combination  of  exercise  and 
closely-fitting  corsets.  Her  eyes  rest  longingly  on 
a  chair.  She  is  closely  followed  by  her  daughter, 
Olive:  a  slight,  spirituelle,  graceful  girl  of  eigh- 
teen.'] 

SYLVIA 

[Pleasantly.]      How  are  you,  Elizabeth? 

MRS.    HOOD 

Hot. 

[She  looks  at  the  various  chairs,  decides  she  would 
prefer  the  lounge  and  goes  straight  to  it  and  sits.] 

SYLVIA 

[Embracing  Olive.]  Well,  Olive!  What  a  sweet 
hat! 

OLIVE 

Do  you  like  it? 

SYLVIA 

I  do.  It's  charming  of  you  to  have  thought  of  us, 
dear  Elizabeth.     Isn't  it,  Marshall? 

BROOKE 

Most.  Very  nice  of  them.  It'll  quite  brighten  up 
the  afternoon. 

MRS.    HOOD 

[Sitting  bolt  upright  through  corset-pressure,  fanning 
herself.]  I  didn't  want  to  come.  A  hot  day  like  this. 
I  would  much  rather  have  stayed  at  home. 

BROOKE 

Why  didn't  you?     Hot  day  like  this. 
[35] 


THE  HARP  OF  LIFE 

MRS.    HOOD 

Olive  wanted  to. 

BROOKE 

Oh?     Olive  wanted  to.      [Shakes  his  head  at  Olive.] 
Ah! 

MRS.    HOOD 

Your  birthday,  or  something. 

BROOKE 

Then  it  was  your  fault,  Sylvia,  dragging  this  poor 
woman  out  on  a  hot  day  like  this. 

SYLVIA 

Marshall,  do  be  quiet.    Sit  down. 

[Brooke  is  about  to  sit  beside  Mrs.  Hood  and  continue 
"ragging**  her.] 

No.     Over  there. 

[Brooke  sits  over  near  the  wall  scowling  at  the  vis- 
itors.] 

MRS.    HOOD 

Is  it  your  birthday?     Or  has  she  made  a  mistake? 
It  would  be  just  like  her. 

SYLVIA 

She  hasn't.     It  is  my  birthday  and  it  was  very  sweet 
of  you  to  come. 

OLIVE 

[Takes  a  miniature  out  of  tissue  paper  and  shyly  gives 

it  to  Sylvia.] 
Many  happy  returns. 

[36] 


Act  I:    BOYHOOD 

SYLVIA 

[Brightens  with   real  pleasure  as   she   looks  at  it."] 
Oh!   How  darling.     Did  you  paint  it  yourself? 

OLIVE 

Yes.     It's  not  very  good. 

SYLVIA 

Indeed  it  is.      [Showing  it  to  her  husband.]     Isn't  it, 
Marshall? 

BROOKE 

[Looking  at  it  cursorily.]     Very  nice.     Who  is  it? 

OLIVE 

Why  it's 

BROOKE 

Don't  tell   me.      [Examines   it   closely;   looks  up   at 
Sylvia.]      You!    Eh? 

6YLVIA 

Of  course  it  is. 

BROOKE 

[Looking  at  it  more  closely.] 

I  knew  it  was.     There's  a  distinct  resemblance — here 
and  there.     Very  nice.     Very  nice  indeed. 

SYLVIA 

[Snatches  it;  grimaces  at  him.] 

Nice!     [To  Olive.]     It's  perfect.     [To  Mrs.  Hood.] 
Have  you  seen  it? 

MRS.    HOOD 

[Snorts.] 

Seen  it?     Every  day   for  three  months.     Waste  of 
time. 

[37] 


THE  HARP  OF  LIFE 

SYLVIA 

Oh,  no,  it  isn't.  You  have  a  great  gift,  Olive.  Hasn't 
she,  Marshall? 

BROOKE 

[Returning  eagerly  to  tease  Mrs.  Hood.] 
She   has.      You  must   admit   that,   Elizabeth.      Olive 
has  a  great  gift.     I  knew  it  was  Sylvia  in  a  moment. 

MRS.    HOOD 

A  lot  of  good  that  kind  of  gift  is  in  a  home. 

BROOKE 

Oh,  I  don't  know.  Leonard's  beginning  to  turn  out 
a  few  things.  Really  nice  things.  Quite  nice.  He 
painted  a  hay-stack  last  week.  [Winks  at  Sylvia]  and 
our  old  horse 

SYLVIA 

[Trying  to  stop  him.~\ 
Marshall ! 

MRS.    HOOD 

You  shouldn't  encourage  him. 

BROOKE 

I  don't.  But  the  horse  was  very  complimentary.  He 
tried  to  eat  it. 

[Sylvia  motions  Brooke  to  go  back  to  his  seat  by 
the  wall.] 

SYLVIA 

Don't  pay  any  attention  to  him,  Elizabeth.  He's  in 
a  vile  mood  to-day. 

MRS.    HOOD 

It's  no  work  for  a  man.     Or  for  a  woman.     Give  me 
[38] 


Act  I:    BOYHOOD 

pictures  already  painted  that  you  can  hang  on  the  wall — 
not  messed  about  all  over  the  place. 

BROOKE 

Quite  right.     On  the  wall  of  an  empty  room. 

SYLVIA 

How  did  you  do  it  without  a  sitting,  Olive? 

OLIVE 

From  a  photograph  Leonard  gave  me. 

SYLVIA 

[Kisses  her.] 

It's  most  kind  of  you,  dear,  and  I  love  it. 

[Leonard  comes  in  very  serious  and  dignified  to  meet 

the   guests.      He   has   changed  into  a   lounge-suit. 

Brooke  catches  his  eye  and  points  to  Mrs.  Hood. 

Leonard  goes  reluctantly  to  greet  her.] 

MRS.    HOOD 

[Severely.] 

Oh!     There  you  are. 

LEONARD 

[Shaking  hands  with  her  very  stiffly.] 
How   are   you?      [Turns   and   sees    Olive.]      Hello, 
Olive. 

OLIVE 

[Faintly.]     Hello,  Len. 

[They  shake  hands:  Sylvia  holds  their  hands  to- 
gether for  a  moment  smiling  happily  at  them. 
Leonard  becomes  painfully  embarrassed:  Olive 
shyly  happy.] 

[39] 


THE  HARP  OF  LIFE 

SYLVIA 

[Showing  Leonard  the  miniature] 
From  Olive.     Isn't  it  a  dear? 

LEONARD 

[Examining  the  miniature  critically.'] 

I  say,  it's  splendid,  isn't  it  ?  You  are  improving.  The 
colouring's  fine.  And  you've  got  mother's  nose  to  the 
point.     It's  jolly. 

OLIVE 

[Brightens  and  looks  affectionately  at  him.] 
Do  you  really  like  it? 

LEONARD 

[In  the  manner  of  a  master.] 

Yes,  I  do.  Oh,  yes.  You're  not  very  strong  on 
necks,  are  you  ? 

OLIVE 

[Disappointed.]  Oh,  Leonard!  I  liked  that  best  of 
all. 

LEONARD 

You  can  do  better  than  that.  See — [pointing  to  his 
mother]  it's  mother's  big  asset.  Father's  always  laying 
offerings  at  its  base. 

SYLVIA 

And  Leonard  used  to  give  me  bracelets  because  he 
thought  my  hands  pretty.  Now  I've  reached  the  age  of 
the  "community "-present.  Screens,  bowls,  articles  for 
the  house. 

LEONARD 

I  thought  it  was  time  someone  got  a  background  for 
your  pretty  hair. 

[40] 


Act  I:    BOYHOOD 

SYLVIA 

Sweet  boy! 

MRS.    HOOD 

[Disgusted.]  You  do  swallow  more  obvious  compli- 
ments  

SYLVIA 

Don't  I?     My  appetite  is  enormous  for  them. 

LEONARD 

Nice  old  lady. 

MRS.    HOOD 

Who? 

LEONARD 

Mother,  of  course.  [To  Olive.]  Come  to  the  light. 
I'll  show  you  what  I  mean.  [He  takes  Olive  on  to  the 
porch  where  they  can  be  seen  distinctly  as  Leonard  ex- 
pounds the  art  of  painting  to  her.] 

BROOKE 

[To  Mrs.  Hood].     Has  she  done  you? 

MRS.    HOOD 

No.  And  she's  not  going  to.  [Struggling  miserably 
with  cushions  in  a  vain  effort  to  relax.] 

SYLVIA 

You  don't  look  comfortable. 

MRS.    HOOD 

I'm  not.     I  hate  your  furniture. 

SYLVIA 

[As  she  squeezes   cushions  all  around  Mrs.   Hood, 
[41] 


THE  HARP  OF  LIFE 

laughs.]      It's     not     my    furniture.     It's     your     corset. 
Why  people  wear  cages   I  can't  understand. 

MRS.    HOOD 

Now  don't  begin  on  that  again.     You  don't  understand 
why  people  wear  clothes. 

SYLVIA 

No.      I    don't.      And   if   someone   hadn't   started   the 
fashion  /  wouldn't. 

BROOKE 

Sylvia !     Really ! 

SYLVIA 

Well,  not  so  many. 

BROOKE 

Not  before  Elizabeth,  my  dear. 

MRS.    HOOD 

[Beckons  to  Brooke  and  points  to  Olive  and  Leonard 

chatting  on  the  porch.] 
They  look  well  together,  don't  they? 

BROOKE 

Who? 

MRS.    HOOD 

The  children.     Olive  and  Leonard. 

BROOKE 

[Glancing  at  them.]  Oh,  yes.     Very  nice. 

MRS.    HOOD 

[Sighs.]     Dear  me !    It  takes  me  back  to  my  own  time. 
I  was  just  like  her  once. 

[42] 


No.     Really? 
A  rail. 
A  what? 
Really !    A  rail 
Fancy  that. 


Act  I:    BOYHOOD 

BROOKE 
MRS.    HOOD 


BROOKE 

MRS.    HOOD 

BROOKE 


MRS.    HOOD 

Now  look  at  me.      [Wriggles  uncomfortably.     Looks 
enviously  at  Sylvia.]     How  do  you  keep  slim? 

SYLVIA 

[Laughs.]     Directly  I  think  I'm  growing  fat  I  take 
it  off. 

MRS.    HOOD 

Mine  won't  come  off. 

BROOKE 

A  friend  of  mine  tried  living  on  butter  for  three  months 
and  lost  thirty  pounds. 

SYLVIA 

Marshall ! 

BROOKE 

Well  thirty  pounds!     That's  a  great  deal,  Elizabeth. 

MRS.    HOOD 

[Ignoring  him.]     What  do  you  do,  Sylvia?     Diet? 

SYLVIA 

Exercise.     I  walk,  play  tennis,  swim,  ride — — 


BROOKE 

Oh,  yes.    Sylvia  rides.     She  gets  a  good  deal  of  exer- 
[4S] 


THE  HARP  OF  LIFE 

cise  that  way.    More  than  most  people.    Especially  when 
she  tumbles, 

SYLVIA 

[Checks  him,  reproachfully.] 

Marshall!  [To  Mrs.  Hood.]  I  don't  give  myself  a 
chance  to  get  heavy. 

MRS.    HOOD 

You'll  hurt  yourself  doing  those  things. 

BROOKE 

[Quickly. ,]  She  did  just  now.  Out  there.  Fell  off. 
Fell  right  off.     [To  Sylvia.]     Didn't  you? 

SYLVIA 

What  a  tease  you  are. 

MRS.    HOOD 

We  can't  do  that  kind  of  thing  at  our  age. 

BROOKE 

Our  age? 

MRS.    HOOD 

No.  Her  age.  [Sylvia  laughs.]  Well,  there's  not 
much  difference.  [Sylvia  laughs  heartily.]  How  old 
is  Leonard? 

SYLVIA 

Nineteen.     I'm  thirty-six. 

MRS.    HOOD 

Thirty-six!     [Thinks  as  she  calculates.] 

SYLVIA 

Yes.    That's  right,  isn't  it  ?    But  I  don't  feel  a  minute 

[44] 


Act  I:    BOYHOOD 

older  than  Len.    I  look  at  life,  most  of  the  time,  through 
his  eyes.     That's  how  I  keep  young. 

[Brooke   not   liking  the   trend  of  the   conversation, 
creeps  quietly  to  the  door.~\ 

MRS.    HOOD 

You've  got  a  shock  coming  to  you  some  day.   [Sylvia 

laughs  immoderately.]     Do  you  approve ?     [Turns 

to  Brooke,  misses  him,  then  discovers  him  by  the  door.] 
Do  you  approve  of  it? 

BROOKE 

[Vaguely,  anxious   to  get   away.~\      Eh?     Yes.     No. 
They're  a  pair  of  children. 

MRS.    HOOD 

[Snorts.]     Children! 

BROOKE 

Really     they     are.       Nice     children,     but — children. 
[Turns  to  door.] 

SYLVIA 

Are  you  going  away,  Marshall? 

BROOKE 

No.     [As  the  two  women  turn  to  each  other  he  goes 
out  softly.] 

MRS.    HOOD 

That's   only  playing  at  motherhood.     Where's   your 
dignity  ? 

8YLVIA 

Why  dignity?     That  only  frightens  children.     Drives 
them  away  from  you.     I  wanted  Leonard  to  grow  up 

[46] 


THE  HARP  OF  LIFE 

looking  on  me  as  his  companion  as  well  as  his  mother — . 
And  he  does.  That  is  the  relationship  we  have  to  each 
other. 

MRS.    HOOD 

I  haven't  brought  Olive  up  that  way.  [Chuckles 
grimly.]  Oh,  no !  I  have  always  had  too  much  dignity 
for  that.  It's  born  in  me.  People  naturally  look  up  to 
me.  Olive  does.  She's  got  to.  I  know  every  thought 
in  her  mind.     She  idolizes  me. 

SYLVIA 

[Mischievously.']      How  can  she  help  it? 

MRS.    HOOD 

Exactly.  I  brought  her  into  the  world  at  a  great  deal 
of  personal  inconvenience.  [Closes  her  eyes  at  this  re- 
membrance.] What  an  inconvenience.  I  have  fed  her, 
clothed  her  and  educated  her  at  a  great  deal  of  expense. 
Why?  Just  to  turn  her  over  to  some  young  man  when 
the  time  comes.  That's  all  motherhood  is.  Worry  and 
trouble  and  expense  from  the  time  they're  born  until 
they're  married  off.  Then,  if  they  make  a  mistake,  more 
worry.  All  I  ask  from  Olive — and  I  insist  on — is  obedi- 
ence, gratitude,  and,  of  course,  love.  I  insist  on  them, 
and  I  get  them,  because  I'm  her  mother. 

SYLVIA 

Leonard  loves  me  quite  irrespective  and  outside  of 
the  fact  that  I'm  his  mother.  He  admires  me.  I  never 
demand  anything  in  the  name  of  mother.  I  always  ash 
in  the  name  of  love.  And  where  there  is  love  there  must 
be  obedience  to  the  loved-one's  wishes.    As  to  gratitude 

[46] 


Act  I:    BOYHOOD 

it  is  all  mine.     Since  my  real  happiness   has  been  in 
him.     Don't  you  feel  it  to  Olive? 

MRS.    HOOD 

Gratitude  to  Olive?  What  have  I  to  be  grateful  for? 
I  nearly  lost  my  life  having  her.  And  half  the  time 
I'm  sick  with  anxiety  wondering  if  she'll  ever  repay 
all  I've  done  for  her. 

SYLVIA 

Surely  she  has  repaid  you?  No  matter  what  a  child 
does  or  becomes  its  debt  is  always  paid.  They  pay  you 
when  their  little  arms  first  cling  around  your  neck ;  when 
you  live  again  through  their  triumphs  at  school;  their 
first  love;  their  first  child.  It's  a  joy,  is  motherhood — 
a  blessed  chance  to  revive  one's  own  youth.     It's  a  joy. 

MRS.    HOOD 

You've  got  a  nasty  surprise  coming  to  you. 

SYLVIA 

I  think  not. 

MRS.    HOOD 

Has  Leonard  said  anything  to  Olive? 

SYLVIA 

No.  But  I  think  he  means  to.  Just  before  you  came 
in  he  said  he  wanted  to  have  a  long  talk  with  me. 

MRS.    HOOD 

Hurry  him  up.  Olive's  moping  about,  too.  If  they're 
too  shy  to  speak  out  let  us  do  it  for  them. 

[47] 


THE  HARP  OF  LIFE 

SYLpVIA 

[Taking  a  photograph-album  off  the  table  and  opening 
it]    All  right,  Elizabeth.    I  will.    Have  you  seen  these? 

MRS.    HOOD 

No.     What  are  they? 

SYLVIA 

Photographs  of  Leonard  ever  since  he  was  a  little 
baby.  [Casually  turns  over  the  leaves,  Mrs.  Hood 
glancing  at  them.'] 

MRS.    HOOD 

That's  a  pretty  one.  I  don't  believe  in  long  engage- 
ments. 

SYLVIA 

That  was  taken  when  he  was  seven. 

MRS.    HOOD 

[Glancing  at  it.]  Marry  them  young  and  keep  them 
out  of  mischief. 

SYLVIA 

Not  at  seven? 

MRS.    HOOD 

Don't  be  silly. 

SYLVIA 

[Smiling.]     His  father  and  I  married  young. 

MRS.    HOOD 

There  you  are.  And  it  turned  out  all  right — so  far  as 
one  can  see. 

SYLVIA 

Yes,  it  did.    Even  where  you  can't  see. 
[48] 


Act  I:    BOYHOOD 

MRS.    HOOD 

[Grunts.]  I've  looked  out  a  little  place  they  can  take 
at  first.  It's  between  our  two  houses — rather  nearer 
mine.     We'd  better  keep  them  under  our  eye  for  a  bit. 

SYLVIA 

[Laughs.]  You're  a  funny  old  dear.  [Puts  her  arm 
around  her.] 

MRS.    HOOD 

[Releasing  herself.]     Funny?     Well! 

SYLVIA 

When  two  people  are  in  love  they  should  be  as  free 
as  the  air. 

MRS.    HOOD 

Whom  will  they  turn  to? 

SYLVIA 

Each  other.  We  did.  [Points  to  a  photograph  in  the 
album.]     That's  the  one  I  like  best.     Isn't  it  good? 

MRS.    HOOD 

[Peevishly.]  Yes,  it  is;  very.  I'm  not  going  to  let 
go  of  Olive,  whoever  she  marries.  What  do  they  know 
about  life? 

SYLVIA 

Leonard  knows  something.      I   told  him. 

MRS.    HOOD 

Did  you? 

SYLVIA 

Yes.  I've  never  believed  in  lying  to  children.  It's  not 
fair  to  them  or  to  yourself.     [Turns  back  leaves  of  album 

[49] 


THE  HARP  OF  LIFE 

to  find  a  particular  photograph.]  At  that  age  he  began 
to  doubt  Santa  Claus.  He  couldn't  understand  how  he 
could  come  down  the  chimney  with  all  the  presents.  So 
I  told  him  the  truth,  before  "the  boy  next  door"  could. 
He  fretted  for  a  few  days.  But  I  reasoned  him  out  of 
it  by  asking  him  if  he  wouldn't  rather  know  that  his 
father  and  mother  gave  him  all  the  pretty  things  instead 
of  a  long-whiskered  old  gentleman  he  didn't  even  know. 
That  cheered  him  up,  and  by  the  following  Christmas 
he  was  quite  reconciled  to  Santa  Claus  being  a  pleasant, 
childish  fiction.  [Turns  leaves,  and  points  to  another 
photograph.]  One  day,  when  he  was  that  age,  he  said: 
"Don't  tell  me  the  storks  bring  the  babies,  because 
they're  all  shut  up  in  the  Zoological  Gardens.  I  know. 
And  if  the  doctor  brings  'em  where  does  he  get  them?" 
I  saw  how  his  little  brain  was  puzzled  and,  instead  of 
evading  the  point,  as  most  parents  do,  I  decided  to  fore- 
stall "the  boy  next  door"  from  telling  him  in  some  hid- 
eous way,  and  giving  his  mind  the  wrong  outlook. 

MRS.    HOOD 

[Horrified.]      What  did  you  tell  him? 

SYLVIA 

The  truth. 

MRS.    HOOD 

[Aghast.]      You  didn't! 

SYLVIA 

Why  not?  Is  there  any  more  beautiful  truth  to  tell 
that  than  of  motherhood?  In  my  opinion  it's  better  for 
a  child  to  learn  the  truth  from  his  mother  than  to  pick 

[50] 


Act  I:    BOYHOOD 

it  up  in  some  vulgar,  common  way.  Why  not  impress 
it  on  his  mind  in  some  beautiful  form  while  he  still  re- 
tains all  the  imagination  and  the  wonder  God  has  put 
there?  So  I  told  him.  I  told  him  the  great  mystery 
of  life  as  I  feel  it  should  be  told  to  children — not  as 
something  to  speak  of  in  secret  among  themselves,  but 
as  the  most  marvellously  beautiful  thing  in  all  Nature. 
I  explained  that  the  tiny  baby,  before  it  was  born,  took 
its  life  from  the  body  of  its  mother;  that  it  came  into 
life  through  the  mother's  pain  and  tears,  and  that  be- 
cause of  the  sacred  and  wonderful  privilege  God  had 
given  to  women  all  men  who  were  really  men  were  al- 
ways gentle  and  considerate  and  tender  toward  them.  I 
taught  him  why  a  man  always  protected  his  woman-kind 
— because  they  were  the  mothers  of  the  race.  They 
carried  in  them  the  little  lives  that  afterwards  peopled 
the  world.  Again  I  saw  the  small  brain  trying  to 
grapple  with  its  new  wonders.  In  a  few  days  the  key- 
note of  his  future  manhood  stood  revealed.  A  new  look 
came  into  his  eyes — a  tender  one  of  pity,  protection,  and 
love.  He  would  watch  me  anxiously.  Bring  me  a  shawl 
if  the  air  was  cold,  a  footstool  if  I  looked  at  all  tired, 
and  run  for  my  slippers.  I  had  taken  on  a  new  value 
in  his  eyes — a  value  that  has  steadily  and  surely  in- 
creased. I  was  not  only  his  mother.  I  was  a  woman, 
the  wonder-woman,  who  brings  forth  children.  Even 
at  that  age  he  had  learnt  what  chivalry  meant.  [Closes 
album.~\  I  sometimes  wonder  when  I  see  women  stand- 
ing, weary  with  their  day's  work,  in  public  convey- 
ances, whether,  if  the  men  sitting  stolidly  and  selfishly 

[51] 


THE  HARP  OF  LIFE 

in  their  seats  had  been  told  in  their  childhood  of  the 
delicate  mechanism  that  constitutes  womanhood,  they 
would  shame  their  manhood  by  remaining  seated.  The 
age  of  chivalry  will  never  die  so  long  as  from  the  time 
a  boy  can  first  understand  life  he  is  taught  what  mother- 
hood is,  and  what  is  really  meant  by  the  word  "woman**. 

MRS.    HOOD 

[Grunts  and  shakes  her  head  disapprovingly.]  It 
all  sounds  very  improper.  Very.  I  think  it  shameless 
talking  to  children  about  such  things.  Nothing  mar- 
vellous about  motherhood  to  me.  The  less  said  about  it 
the  better. 

SYLVIA 

The  more  said  about  it  the  better.  If  mothers  don't 
glorify  motherhood  who  will?  We  should  all  be  careful 
of  the   "boy  next  door". 

MRS.    HOOD 

What  do  you  mean,  "the  boy  next  door?"  There's  no 
house  near  here? 

SYLVIA 

Well,  let  us  say  the  boy  chum  at  school — the  one  who 
has  learnt  something  which  he  whispers  in  a  furtive  way 
as  if  it  were  a  thing  to  be  ashamed  of.  That  kind  of 
distorted  knowledge  causes  a  child  to  look  curiously, 
and  in  the  wrong  way,  at  his  parents.  Then  it  is  a  thing 
to  be  ashamed  of.  I  saved  Leonard  from  that.  He  only 
saw  the  beauty  and  mystery  of  it. 

[Olive  and  Leonard  come  in  from  the  porch  and 
stand  at  the  window  talking.] 
[52]' 


Act  I:    BOYHOOD 

MRS.    HOOD 

I'd  be  ashamed  to  tell  Olive  such  things.  Her  mind 
is  like  a  piece  of  white  paper.  Why,  if  she  as  much  as 
thought 

[Sylvia  sees  the  young  people,  calls  Mrs.  Hood's  at- 
tention to  them,  and  checks  her.] 

LEONARD 

[Brings  Olive  down  to  screen,  and  points  out  bowl.'] 
There!     They  are  not  so  bad? 

OLIVE 

[Looks  at  them  and  then  at  Leonard.]  They're  beau- 
tiful— just  what  I  would  expect  of  you. 

LEONARD 

[Pleased.']      Really? 

MRS.    HOOD 

[Looking  in  disgust  at  bowl  and  screen.]  Why, 
where's  your  pretty  screen  with  the  pink  roses? 

SYLVIA 

Gone  for  ever.    These  are  Leonard's  birthday  presents. 

MRS.    HOOD 

[Decidedly.]  I  don't  like  them.  Not  at  all.  They 
look  fast  to  me. 

LEONARD 

[Disgustedly.  ]     Fast  ? 

SYLVIA 

Nonsense.  Leonard  wanted  purple  in  the  room,  so  we 
have  purple.     They're  quite  beautiful,  Leonard. 

[53] 


THE  HARP  OF  LITE 

BROOKE 

[On  the  porch.]  [Calls  loudly  and  gleefully  to  some- 
one in  the  distance.] 

Hello,  you  old  rascal!     Come  up  here! 

[There  is  an  answering  call,  and  Brooke  shouts  ex- 
citedly to  Sylvia  in  the  manner  of  a  man  rescued 
from  drowning.] 

It's  Saxon!     Godfrey  Saxon!     What  a  bit  of  luck! 

[Looks  at  Mrs.  Hood,  then  goes  off  porch  to  meet 
Saxon.] 

LEONARD 

Saxon !    Hurrah !     [Hurries  out  on  to  porch.] 

MRS.    HOOD 

[Frowningly  and  ominously.] 

Godfrey  Saxon !  Well,  one  of  us  is  not  going  to  stay 
long.  I  can't  bear  him — the  familiar  creature.  [To 
Olive.]  Don't  you  listen  to  him.  Sit  over  there. 
[Points  to  chair.] 

[Olive  meekly  goes  to  it  and  sits.] 
[Godfrey  Saxon,  a  grizzled,  sunburned,  active  little 
man,  well  over  fifty,  comes  breezily  on  to  the  porch. 
He  has  all  the  characteristics  of  the  horseman  and 
all-around  open-air  lover.  He  is  in  well-worn  dusty 
riding  togs.] 

SAXON 

Hello,  old  sport! 

BROOKE 

[Exuberantly.]     Manna  in  the  wilderness! 

SAXON 

Who  is? 

[54] 


Act  I:    BOYHOOD 

BROOKE 

[Laughing  excitedly.']  You  are.  On  the  spot  at  the 
right  moment. 

SAXON 

/  am? 

BROOKE 

[Clapping  him  on  the  back.']  Go  in  and  you'll  know 
what  I  mean. 

SAXON 

Have  you  been  drinking? 

BROOKE 

No.     But  I'm  going  to.     Go  on  in. 

SAXON 

Never  knew  I  was  so  popular. 

BROOKE 

I'll  wear  you  next  my  heart  after  this. 

SAXON 

[Greets  Sylvia.]  What's  the  matter  with  yer  hus- 
band? A  touch  o'  the  sun?  [Takes  her  hand.]  Ra- 
diant, as  always.     Havin'  a  jolly  birthday? 

SYLVIA 

How  did  you  know? 

SAXON 

A  little  bird  whispered  it.  A  chaffinch,  my  dear. 
[Takes  out  a  bouquet  from  inside  his  coat.]  So  I  cut 
these  off  me  prize  bushes.  [Sniffs  the  bouquet,  then 
hands  it  with  a  flourish  to  Sylvia.]  To  the  fragrant! 
Bless  ye! 

[55] 


THE  HARP  OF  LITE 

SYLVIA 

[Smiles.]  Oh!  It's  very  kind  of  you.  [Buries  her 
face  in  the  flowers.] 

SAXON 

Not  a  bit.  I  wanted  to  see  ye  smile — show  y'r  teeth, 
an'  look  happy. 

SYLVIA 

I  am,  I  do.     [Laughs  and  shows  her  teeth.] 

SAXON 

[Laughs.]  There  y 'are!  Now  I'm  in  y'r  debt.  [Sees 
Olive,  and  goes  over  to  her.]  Ho,  ho!  My  other  dar- 
ling! 

[Mrs.  Hood  snorts  indignantly  as  he  hurries  over  to 

Olive  and  takes  her  hand  in  both  of  his.] 
An'  how's  the  precious  little  chicken? 
[Olive  glances  up  at  him  with  a  faint  smile  and  then 
lowers  her  eyes.    He  turns  to  Sylvia  and  Brooke.] 
The  wonderful  age!     Bones   and  blushes! 

MRS.    HOOD 

[Angrily.]     Oh! 

SAXON 

[Turns  and  sees  her.]  Ah,  ha!  I  see  ye!  I  knew 
ye  wouldn't  be  far  away.  [Hurries  to  her  and  takes  up 
her  unwilling  hand.]     An'  how's  the  careful  hen? 

MRS.    HOOD 

[Snatching  her  hand  away,  indignantly.]      What? 

SAXON 

[Turning  to  Brooke,  who  is  very  pleased  at  Mrs. 
Hood's    annoyance.]      See   that?      [Re-produces    Mrs. 

[56] 


Act  I:    BOYHOOD 

Hood's  abrupt  withdrawal  of  her  hand:  turns  to  Mrs. 
Hood.]  Why,  sweet  lady  ?  Don't  ye  like  "hen"  ?  She's 
a  noble  bird.  Unselfish,  indulgent  to  her  brood,  provides 
us  with  nourishment — and  chickens  [glances  at  Olive] 
and  lays  down  her  life  for  us.  A  useful  and  picturesque 
career.  I  suppose  if  I'd  said  duck  ye'd  have  beamed 
on  me!  [To  Brooke.]  Odd,  ain't  it?  [Mrs.  Hood 
snorts  indignantly.]  I  withdraw  "hen."  [Looks  at  Mrs. 
Hood  appraisingly.]  The  "duck"  looks  full  of  health 
and  temper.  I  love  it  in  a  mare  and  a  mother.  [Mrs. 
Hood  turns  her  back  to  him:  he  winks  gaily  at  the  others 
and  prepares  to  harangue  Mrs.   Hood  again.] 

SYLVIA 

[Coming  to  the  rescue,  crosses  to  Saxon,  shakes  her 
head  reprovingly  at  him,  and  shows  him  the  neck- 
lace.] 

Godfrey!     Isn't  that  adorable? 

SAXON 

What  young  man  gave  you  that? 

SYLVIA 

[Nodding  towards  Brooke.]      My  lover. 

SAXON 

He  ought  to  have  known  better.  Pearls!  They  re- 
vive painful  memories.  [Shivers.]  I've  given  buckets- 
ful.     [Waves  them  away.]     Cover  'em  up! 

SYLVIA 

I  used  to  dread  birthdays.  I  hated  the  idea  that 
records  were  kept  of  our  ages.    A  pain  at  twenty  means 

[57] 


THE  HARP  OF  LIFE 

nothing — at   forty  we   fear  appendicitis.     That's   what 
birthdays  do. 

SAXON 

[To  Brooke.]  She's  found  it.  [To  Mrs.  Hood.] 
We  old  'ns  have  given  up  the  search,  haven't  we,  dear 
lady? 

MRS.    HOOD 

[Angrily.']     What  search? 

SAXON 

For  eternal  youth — like  hers. 

MRS.    HOOD 

Rubbish!     Eternal  nothing! 

SAXON 

I  wish  I'd  found  the  secret.  I'm  sure  you  do,  too. 
Come,  own  up.  I  do.  When  hair  leaves  a  man — [pass- 
ing his  fingers  through  his  scanty  hairs]  and  fat  creeps 
on  to  a  woman — [looking  at  Mrs.  Hood)  it's  no  use 
pretending.  We  know  youth's  gone.  Romance  can  sur- 
vive many  things — poverty,  disillusionment — but  fat, 
never.     There's  no  poetry  in  fat. 

MRS.    HOOD 

If  I  had  a  wooden  leg,  or  a  glass  eye,  no  one  would 
think  of  referring  to  it.  But  people  have  no  thought 
for  the  sensitiveness  of  a  fat  person.     It's  disgusting. 

SAXON 

[Looks  at  Sylvia,  who  shakes  her  head  disapprov- 
ingly.] 

[58] 


Act  I:    BOYHOOD 

[To  Mrs.  Hood,  indicating  Sylvia.]  But  she's  mar- 
velous.    Isn't  she? 

MRS.    HOOD 

Yes,  she  is — for  a  woman  of  her  time  of  life,  with  a 
grown  son. 

SYLVIA 

Because  we  gain  a  child  we  needn't  lose  a  figure.  .  I 
think  some  people  age  more  quickly  than  others  because 
they  become  parents  instead  of  playmates.  We're  play- 
mates.    I  still  play  all  his  games. 

BROOKE 

[Laughing.]  That's  a  fact.  She  can  beat  him  at  most 
of  them.     [To  Leonard.]     Can't  she? 

LEONARD 

Yes.     Especially  riding. 

MRS.    HOOD 

It  doesn't  seem  decent  to  me  for  a  woman  to  be  play- 
ing silly  games  with  men — at  our  age. 

BROOKE 

Now  exactly  how  old  are  you  really,  dear  Elizabeth? 

MRS.    HOOD 

Oh,  I  don't  mind  telling  anyone.  I  never  lie  about  it 
I'm  forty. 

[Brooke  suggests  astonishment.'] 

SYLVIA 

That's  quite  right,  Marshall.  We  went  to  school  to- 
gether.    Elizabeth  is  only  forty. 

[59] 


THE  HARP  OF  LIFE 

BROOKE 

You  quite  misunderstood  me — I  didn't  think  she  was 
even  that.     Eh — Godfrey? 

SAXON 

Nowhere  near.  Wonderfully  preserved.  [He  winkt 
at  Brooke.) 

MRS.    HOOD 

Olive  was  born  when  I  was  twenty-two.  No  woman 
should  have  children  before  that.     It's  not  decent. 

BROOKE 

What  was  that  you  were  telling  me,  Godfrey, — that  in 
Spain  a  girl  of  fourteen ? 

SAXON 

Yes,  at  fourteen,  I  saw  one,  a  darling.  And  the 
baby 

SYLVIA 

Never  mind — now  stop  it — both  of  you. 

MRS.    HOOD 

I  suppose,  as  you  are  only  thirty-six,  you  tell  everyone 
that  Leonard  was  born  when  you  were  seventeen? 

SYLVIA 

[Laughing.  ]  No.  I  always  say  twelve.  It  makes 
me  appear  so  much  younger.  They  don't  believe  me. 
But  they  wouldn't  if  I  told  them  the  truth.  [Whimsi- 
cally.] If  it  wasn't  for  that  big  boy  my  young  hats 
and  frivolous  dresses  would  convince  anybody. 

[60] 


Act  I:    BOYHOOD 

MRS.    HOOD 

Such  affectation  is  ridiculous. 

SYLVIA 

It  isn't  affectation.  I'm  going  to  remain  young  as 
long  as  I  can,  and  pretty  while  I  may,  so  that  Leonard 
and  his  father  will  be  proud  of  me.  No  one  dreams 
we're  mother  and  son  when  we  dance  together  at  parties. 
[To  Leonard.]     Do  they? 

LEONARD 

No. 

SYLVIA 

Until  they've  been  told.  And,  of  course,  someone  al- 
ways does  tell. 

LEONARD 

I  wanted  to  call  her  "Sylvia,"  but  she  wouldn't  have 
it,  would  you? 

SYLVIA 

[Smiling  at  Leonard.]      No.     I   think   "Mother"   is 
the  loveliest  name  in  the  world.     But  a  child  that  size, 
is   an  awful  weapon   for  the  jealous   to   hurl  at  one's 
birth  certificate. 

MRS.    HOOD 

I  suppose  you'll  wait  till  you're  a  grandmother  before 
you  give  up? 

SYLVIA 

[Laughs.]     Then  I'll  play  with  my  grandchildren. 

MRS.    HOOD 

You've  got  such  a  shock  coming  to  you. 
[61] 


THE  HARP  OF  LIFE 

SAXON 

[Chuckling  at  Mrs.  Hood's  discomfiture.]  She's  right, 
kind  lady.  [To  #ylvia.]  Ye  have  the  key  to  the  only 
thing  that  makes  life  bearable. 

SYLVIA 

Yes.     I  think  I  have.     And  it's  not  youth — it's  love. 
Youth  has   its  thousand   sorrows   and  disappointments. 
Love  keeps  life  bright  and  full,  as  my  two  men  have 
kept  mine.     Leonard,  did  you  see  that  poem  I  marked 
for  you  this  morning?     The  lines   were  written   by  a 
mother  to  her  son.     It's  quite  wonderful.     I  wonder  if  I 
can  remember  the  last  verse.      It  is   almost  a  prayer. 
[Puts    both    hands    on    Leonard's    shoulders,    looks 
straight  into  his  eyes,  and  quotes:] 
"For  my  love  make  no  woman  weep, 
For  my  love  hold  no  woman  cheap. 
And  see  you  give  no  woman  scorn 
For  that  dark  night  when  you  were  born. 
Beloved,  all  my  years  belong 
To  you.    Go  thread  them  for  a  song." 
[She    takes    her    hands    from    Leonard's    shoulders. 
Olive   looks   up  at   him.     He   turns  away  uncom- 
fortably and  stands  thinking.     There  is  a  general 
movement.'] 
I'm  sorry!     I  didn't  mean  to  recite. 

BROOKE 

Not  at  all,  dear.  You  did  it  very  nicely.  Now  per- 
haps, Elizabeth,  you  will  oblige — a  song,  or  a  dance^ — 
or  a  little  poetry? 

[62] 


Act  I:    BOYHOOD 

MRS.    HOOD 

There's  only  one  way  to  bring  up  children.  Keep 
them  under  your  eyes.  Then,  if  anything  goes  wrong, 
you're  not  to  blame. 

SYLVIA 

If  anything  goes  wrong,  what  does  it  matter  who  is 
to  blame? 

[Brooke  suggests  in  pantomime  to  Saxon  that  they 

get    out.      Saxon    agrees    with    alacrity.      Just    as 

they  get  to  window — ] 
Marshall,  where  are  you  going? 

BROOKE 

[Coming  in  again.]  I'm  going  to  show  Godfrey  the 
new  acres. 

SYLVIA 

Wait.  [They  stop.]  We'll  take  Mrs.  Hood.  [To 
Mrs.  Hood.]     Come  on,  Elizabeth. 

BROOKE 

[Under  his  breath.]  Damn!  [Takes  Saxon  on  to 
porch.] 

MRS.    HOOD 

[Goes  with  Sylvia  towards  window.  Calls  to  Olive.] 
Come  along.  [Looks  at  her  severely.]  Pull  your  dress 
down!  [Clicks  her  tongue.]  Ts!  Ts!  Ts!  [Smiles 
sourly  at  Leonard.]  Bring  her,  Leonard.  [Shakes  her 
finger  at  him.]  You  naughty  boy !  I  hope  you  tell  your 
mother  everything.  Every  single  thing.  [Goes  out  on 
to  porch  with  Sylvia,  they  follow  the  men,  and  disap- 
pear.] 

[63] 


THE  HARP  OF  LIFE 

OLIVE 

[Follows  her  mother  to  window,  stops,  looks  back  and 
sees  Leonard  quite  still,  frowning,  and  lost  in 
thought.  She  hesitates,  then  goes  slowly  down  to 
him,  whispers  shyly:] 

Leonard.     /  love  purple. 

[Leonard  looks  quickly  at  her.  She  nods  towards 
screen  and  bowl.'] 

I  think  they're  beautiful.  It  was  horrid  of  mother  to 
say  what  she  did.    She  doesn't  understand  art — nor  you. 

Nor  me.  I  don't  agree  with  her  at  all.  Your  mother 
is  an  angel. 

■  LEONARD 

[Quite  uncomfortable.]  Yes.  She's  been  splendid  to 
me. 

OLIVE 

It  must  be  wonderful  to  have  a  mother  you're  proud 
of — whom  everyone  adores.  It's  dreadful  when  you've 
not,  and  nobody  does,  don't  you  think? 

LEONARD 

It  must  be. 

OLIVE 

It  is.  Of  course,  I  love  her,  and  everything,  but — I 
do  want  to  get  married. 

LEONARD 

[Aghast]     Married? 

OLIVE 

[Nods,  her  eyes  dancing  happily.]     Yes,  don't  you? 

LEONARD 

Well — of  course — I [Stops  dead,  unable  to  say 

another  word.] 

[64] 


Act  I:    BOYHOOD 

OLIVE 

[With  a  little  sigh  of  prospective  contentment.']  It 
will  be  lovely  to  be  able  to  do  everything  you  like,  with 
nobody  to  say  "you  mustn't." 

LEONARD 

Is  that  your  idea  of  marriage? 

OLIVE 

[Smiles,  and  nods  vigorously.]  Yes.  Just  like  Sylvia. 
To  be  always  pretty,  and  dress  beautifully,  and  have 
lovely  things  about  you.  [Looks  at  screen  and  bowl.] 
I'll  have  purple,  too.  All  over  the  house.  It  will  be 
wonderful.  To  play  games,  and  laugh  through  life — 
happy.  It  will  be  glorious.  I  hate  life  when  it's  all 
"mustn'ts". 

LEONARD 

[Trying  to  make  a  ghastly  joke.]  Suppose  your  hus- 
band "mustn'ts". 

OLIVE 

Oh,  but  you  won't. 

LEONARD 

[Horror-stricken.]     I  ? 

OLIVE 

[Nods.]  Yes.  I'm  sure  you'll  be  just  like  Sylvia. 
I  suppose  you  should  have  spoken  first.  You  don't 
mind,  do  you?     You  see,  it's  all  arranged. 

LEONARD 

[Cold  and  rigid.]     By  whom? 

OLIVE 

Our  mothers.  Mine  has  even  picked  out  our  home. 
Quite  near  hers,  so  that  she  can  watch  us.     You  won't 

[65] 


THE  HARP  OF  LIFE 

allow  that,  will  you?  Oh,  I  must  get  away  from  my 
home,  away  from  my  mother.  I  want  to  be  able  to 
stretch  my  arms,  take  a  deep  breath,  and  feel  free.  You 
will  do  that,  won't  you?     [Smiles  happily  at  him.] 

LEONARD 

[Bewildered.]      I    think   there's   been   some   mistake. 

OLIVE 

[Stands  quite  still,  her  smile  fades,  a  catch  comes  into 
her  voice.']     Mistake? 

[In  a  whisper,  fearfully.]      Mistake! 

LEONARD 

There  must  be. 

OLIVE 

[Trembling,  all  illusion  gone.]  Aren't  you  going  to 
marry  me? 

LEONARD 

[In  distress.]      I  can't. 

OLIVE 

[Faintly.]      Why?      Don't  you  like  me? 

LEONARD 

Oh,  yes.  I  have — always.  But — marriage!  It 
must  be  a  mistake. 

OLIVE 

[Half-pleading,  almost  in  despair.]  If  you  like  me 
it  needn't  be. 

[Pause.     Steps  to  him.     Shyly.]      I  love  you. 

[She  looks  long  at  his  face.  It  is  set  and  hard.] 
I  thought  when  you  kissed  me,  and  said  how  proud  you 

[66] 


Act  I:    BOYHOOD 

were  of  me,  and  how  you  wanted  me  always  with  you — 
[Her  appeal  has  no  effect  on  him.~\  I  see.  It  must  be 
a  mistake. 

LEONARD 

But — we  were  only  children  then. 

OLIVE 

[Reproachfully. ]      Three  months   ago! 

LEONARD 

Is  that  all  it  is? 

OLIVE 

Yes.  In  my  work-room,  when  I  first  showed  you  my 
pictures.  .  .  .  Has  your  love  all  gone? 

LEONARD 

It  will  never  do  that.  I  have  too  many  happy  memo- 
ries of  you.  But  it's — it's — [Beats  his  hands  in  dis- 
tress.'] 

OLIVE 

You  don't  love  me  enough  to  marry  me?  [He  turns 
towards  her,  but  does  not  answer.]  I  see  you  don't. 
It  is  a  mistake.  I'm  so  sorry.  [Quite  bravely.]  Don't 
be  unhappy  about  it.  It's  all  my  fault.  I  shouldn't 
have  said  anything.  Only  I  thought  it  was  all  under- 
stood.  .   .  .   I'm  so  very,  very  sorry. 

LEONARD 

[Quite  miserable.]  It's  an  awful  shame.  [His  back 
is  turned  to  her.] 

OLIVE 

[Quickly.]  Oh,  no,  it  isn't.  It  doesn't  matter,  really. 
[Growing  braver,  she  talks  rapidly  to  cover  her  emo- 

[67] 


THE  HARP  OF  LIFE 

tion.]  Don't  feel  badly  about  it.  I  wouldn't  like  you 
to  do  that.  /  don't.  [Tries  to  laugh.']  Mother  always 
muddles  things.  [Suddenly  and  anxiously.]  Don't  let 
her  know,  Len,  will  you?     She'd  be  so  horrid  to  me. 

LEONARD 

Of  course  I  won't. 

OLIVE 

There!  Everything  is  all  right  again.  [Tries  to 
smile.]     Just  as  if  I  hadn't  said  anything. 

LEONARD 

[Looks  up  at  her.]  You  are  a  brick,  Olive.  I  feel 
such  an  awful 

OLIVE 

[Cutting  in  with  a  forced  laugh.]      But  you're  not. 

You're  my  old  companion,  Len.      It  was   so  silly 

[Laughs.] — so  very  silly  of  me  to  think  you  could  ever 
be  anything  else. 

[The  voices  of  the  others  returning  sound  clearly 
through  the  open  windows. 

OLIVE 

[Gives  a  little  mournful  smile,  Leonard  goes  up  R.  C. 
a  little.] 

I  have  to  go  back  to  my  mustn'ts",  to  my  "Yes, 
Mother",  and  "No,  Mother".  You're  the  only  one  I've 
ever  had  a  chance  to  really  talk  to.  I'm  only  allowed 
to  listen  at  home.  [Brightly.]  Don't  be  cross  with  me, 
Len.  [Gives  him  a  little  playful  tap  on  the  shoulder.] 
Bless  you! 

[Runs  out  to  meet  the  others.] 
[68] 


Act  I:    BOYHOOD 

[Leonard  stares  after  her,  entirely  wretched.  He 
shrivels  into  himself,  and  sits,  beating  one  hand 
against  the  other,  his  lips  moving,  but  no  sound 
coming  from  them.] 

[Sylvia,  Saxon  and  Brooke  reappear  on  porch  and 
enter  the  room,  Olive  and  Mrs.  Hood  following. 

SAXON 

We  can't  all  be  good-lookers.  So  what's  the  use  of 
being  sensitive?  At  this  particular  dinner-party,  I  was 
given  the  most  beautiful  woman  in  the  room  as  my  vis-a- 
vis. She  also  had  a  tongue  like  a  wasp.  A  sting  in  every 
word.  When  the  signal  was  given  to  gather  up  yer  part- 
ners, I  approached  the  Jezebel  solemnly  and  extended 
my  arm.  She  took  one  look  at  me  and  went  off  into 
peals  of  rich  and  exuberant  merriment.  The  procession 
halted  to  see  the  fun.  When  she  recovered  her  breath 
she  beamed  down  on  me  and  said  in  her  beautiful 
silvery  voice:    "Oh,  you  beautiful  little  man." 

BROOKE 

[Laughing.]     What  did  you  do? 

SAXON 

Do?  Led  the  laughter.  What  was  there  to  do?  Take 
yer  medicine,  when  ye  get  a  jolt  below  the  belt  like 
that  from  a  dainty  morsel  of  femininity.  If  ye're  small 
and  ugly  ye  get  a  facer  once  in  a  while.  But  look  at 
what  ye  miss.  No  one  ever  tries  to  run  away  with  ye. 
Ye  live  in  a  kind  of  splendid  isolation. 

Fancy  anyone  tempting  me!  [To  Mrs.  Hood.]  Can 
you? 

[69] 


THE  HARP  OF  LIFE 

BROOKE 

Poor  old  Godfrey! 

MRS.    HOOD 

[Looking  loftily  at  Saxon,   turns  to  Olive.]     Why 
didn't  you  come  with  us?     [Looks  across  at  Leonard.] 
Ah!     [Purses  her  lips.]     I  know.     [Nods  sagaciously 
at  Leonard  and  shakes  finger  at  him.]     Wanted  to  steal 
a  chat  without  an  eye  on  you.    Naughty !    Naughty ! 
[Leonard    turns   abruptly   away    and   goes    to   meet 
Sylvia.     Mrs.   Hood  turns  to  Olive  and  pinches 
her  ear  with  as  much  sign  of  affection  as  it  is  pos- 
sible for  her  to  show.] 
Was  it  a  pleasant  little  talk? 

OLIVE 

[Softly,  her  eyes  averted.]      Yes,  mother. 

MRS.    HOOD 

[Laughs  harshly.]     You're  a  little  rogue,  aren't  you? 

OLIVE 

[Almost  in  tears.]      No,  mother. 

MRS.    HOOD 

Yes  you  are. 

BROOKE 

Sylvia,  we  must  dine  early.     [To  Leonard.]     We're 
going  to  the  theatre. 

LEONARD 

[Hurriedly.]     I  can't. 

BROOKE 

[Frowning.]     Why  not? 

[70] 


Act  I:    BOYHOOD 

LEONARD 

I  promised  to  dine  in  town.     Quite  a  long  time  ago. 
Mother  knows. 

BROOKE 

[Growing  angry. ,]      Nonsense!     You  come   with  us. 

LEONARD 

[Doggedly.]     I  can't. 

BROOKE 

[With  increasing  anger.']      Now,  look  here 


SYLVIA 

[Interposing.]  My  dear !  He  must  go  in  by  the  four- 
something — [To  Leonard.]  Have  you  remembered 
what? 

LEONARD 

[Takes  out  time-table  from  his  pocket.]  No.  I'll 
look  it  up. 

BROOKE 

You  ought  to  have  known  better  than  make  an  ap- 
pointment for  to-night. 

SYLVIA 

It  really  doesn't  matter. 

BROOKE 

Yes,  it  does.     I  wanted  him  with  us. 

SYLVIA 

Still,  an  old  engagement 

BROOKE 

[To  Leonard.]  With  whom  are  you  dining,  that 
makes  it  so  important? 

[71] 


THE  HARP  OF  LIFE 

LEONARD 

[Evasively.]      A  few   friends.      I   wouldn't  think  of 
going  only  it's  quite  an  old  thing. 

BROOKE 

[Quite  annoyed,  turns  to  Sylvia.]     Suppose  we  ex- 
change the  seats?     You'd  like  him  with  us? 

SYLVIA 

Oh,  yes.     Let  us  change  them. 

BROOKE 

[To  Leonard,  sarcastically.]     Are  you  free  to-mor- 
row night? 

LEONARD 

Oh,  yes.     It's  just  to-night.     It's  a  very  old  affair. 
Very  old. 

BROOKE 

It  must  be.     It  ages  every  time  you  mention  it. 

LEONARD 

[Finding  place  in  time-table.]      Here  we  are — four- 
eighteen.     [Looks  at  clock.]     I've  just  got  ten  minutes. 

MRS.    HOOD 

[Has  been  watching  and  listening.     Leers  at  Leon- 
ard.]     We'll  take  you  to  the  train. 

LEONARD 

[Annoyed.]     Thank  you,  no.     It's  only  a  step. 

MRS.    HOOD 

[With  an  air  of  proprietorship.]     You'll  come  with 
us.    We'll  see  you  don't  miss  it.     [To  Sylvia,  who  comes 

[72] 


Act  I:    BOYHOOD 

down  to  meet  her.]      I  suppose  you'll  be  looking  just 
the  same  when  we  all  come  round  next  year. 

SYLVIA 

I  hope  so.    But  come  round  before  that. 

BROOKE 

Must  you  really  go?  [Eagerly  taking  her  hand  and 
manoeuvring  her  in  the  direction  of  the  door.] 

MRS.    HOOD 

I  mustn't,  but  I'm  going. 

SAXON 

[Bowing  courteously.']  Dear  lady,  you  will  leave  a 
vacancy  that  no  one  else  can  fill. 

MRS.    HOOD 

[Looks  at  him  indignantly,  then  calls.]  Olive!  Leon- 
ard! 

[Olive  goes  out  past  her  mother,  her  eyes  down. 
Leonard  goes  after  her,  making  apologies  to  Syl- 
via, who  follows  them  out.  Mrs.  Hood  draws  her- 
self up,  looks  scornfully  at  Saxon,  who  has  been 
holding  the  door  open,  and  goes  out  too.] 

SAXON 

[Looks  at  Brooke  and  shudders.]  There  goes  the 
most  advanced  argument  in  favor  of  celibacy — sans 
beauty,  figure,  voice,  charity,  womanliness. 

BROOKE 

You  don't  leave  her  much. 
[73] 


THE  HARP  OF  LIFE 

SAXON 

Not  a  damn  thing. 

BROOKE 

You  needn't  go? 

SAXON 

Not  immediately. 

BROOKE 

[Placing  cigars  and  drinks  on  table.']     Stay  to  dinner? 
[Sylvia  re-enters.'] 

SAXON 

Can't.     Much  obliged. 

SYLVIA 

You  shouldn't  tease  Elizabeth.     It  isn't  nice.     [Pats 
Brooke.]     I  love  my  present. 

BROOKE 

[Frowning.]     I  wanted  you  to  wear  it  to-night. 

SYLVIA 

I   will — at  dinner. 

BROOKE 

I  mean  at  the  theatre.     It's  most  irritating,  Leonard 
going  away  like  that.     Annoying. 

SYLVIA 

Oh,  nonsense!     Don't  be  always  finding  fault  with 
him. 

BROOKE 

It's  only  because  of  you.     I  can  see  you're  hurt. 

SYLVIA 

I'm  nothing  of  the  kind.     Hurt,  indeed!     Nothing 
Leonard  could  do  would  hurt  me. 

[74] 


Act  I:    BOYHOOD 

BROOKE 

Now,  you  know  perfectly  well  that  you 

SYLVIA 

I  don't  want  to  hear  any  more  about  it.    I'm  not  hurt. 
[Hurries'  out  very  angry.'] 

BROOKE 

[Distressed.]     Sylvia! 

[More  loudly.]    Sylvia! 

[Sylvia  re-enters.]     Come  here! 

[She  goes  to  him,  he  takes  her  hand.]  I've  never 
voluntarily  spent  an  hour  away  from  you,  and  I  can't 
understand  Leonard  doing  it.    Am  I  forgiven? 

SYLVIA 

[Relenting.]  Of  course.  [Smiles.]  You're  a  funny 
old  dear.  [To  Saxon.]  No  clubs!  No  gambling!  No 
small  graces  for  other  women!  Just  me!  I'm  his 
virtue  and  his  vice.  Oh,  the  experiences  this  man  has 
robbed  me  of!     [Saxon  chuckles.] 

BROOKE 

What  do  you  mean? 

SYLVIA 

When  other  men  have  admired  me  his  supreme  good- 
ness has  kept  me  straight. 

BROOKE 

[To  Saxon.]    She  does  talk  more  rot 

8AXON 

That  isn't  rot 

[75] 


THE  HARP  OF  LIFE 

SYLVIA 

No  indeed.  They've  realized  rivalry  wasn't  possible 
this  side  of  heaven.  When  I've  seen  some  Adonis  leave 
my  side  discouraged  at  his  perfection,  I've  longed  to 
cry  out  to  him,  "Do  come  back.  My  husband  beats  me 
at  times". 

BROOKE 

When  you  make  these  revelations  are  you  teasing  me 
or  telling  the  truth? 

SYLVIA 

What  do  you  think? 

BROOKE 

I    wonder. 

SYLVIA 

[Patting  his  face.]  That's  exactly  the  right  answer 
for  a  husband.     [Goes  laughing  out  of  the  room.] 

SAXON 

You've  got  a  marvellous  wife. 

BROOKE 

I  know  that. 

SAXON 

This  is  the  only  home  I  go  to  that  gives  me  a  funny 
little  stab  here — [Touches  his  heart] — where  my  heart 
ought  to  be.    You're  henpecked,  and  you  seem  to  like  it. 

BROOKE 

I  do.  Whatever  Sylvia  does  is  always  right.  I  put 
her  first.  She,  womanlike,  puts  Leonard.  /  think  she 
spoils  him.  She  thinks  he  can't  be  spoilt.  The  only 
times  we  ever  disagree  are  about  him.  And  I  always  end 
by  giving  in. 

[76] 


Act  I:    BOYHOOD 

SAXON 

Happy  is  the  man  who  has  a  wife  worth  giving  in 
to!  I  wish  I'd  had  one.  Look  what  marriage  made  of 
me.  A  damned,  silly,  gossipy,  old  mountebank!  Any- 
thing for  a  laugh!  I  make  jokes  at  funerals  in  case 
someone  thinks  I  take  'em  seriously.  Plantin'  ye  in 
the  ground's  one  o'  the  best  jokes  I  know.  I  can't 
bear  anyone  to  think  I  take  anything  seriously.  Pinkie 
did  that  I  was  so  afraid  I'd  be  laughed  at  for  mar- 
ryin'  her,  that  I  laugh  at  everyone — includin'  myself, 
first.  Took  a  bit  o'  doin'  jokin'  about  Pinkie.  She 
was  the  most  expensive  one  I  struck. 

BROOKE 

Is  she  alive? 

SAXON 

Pinkie  alive?  Oh  yes.  Still  roamin'  about,  poor  old 
thing.  She's  touched  up  her  hair,  squeezed  in  her  waist, 
an'  married  a  wine  man.  Not  a  bad  fellow!  Flashy 
little  rat!  I  see  'em  in  the  restaurants  sometimes. 
Poor  Pinkie!  Gettin'  fatter  every  minute.  A  couple 
o'  chins  now.  She  wears  high  emerald  collarettes.  All 
out  o'  wine.  They  cover  the  chins  and  make  the  skin 
look  white.  Back  and  front  cut  very  low.  Have  ye 
ever  noticed  that  the  older  some  women  get  the  more 
decollete  they  like  to  be? 

BROOKE 

I  can  quite  see  the  reason — the  back  is  the  last  place 
to  wrinkle. 

[77] 


THE  HARP  OF  LIFE 

SAXON 

Exactly.  Funny,  ain't  it?  I  like  watching  'em. 
Pinkie's  quite  a  good-looker  still.  Nice  reg'lar  fea- 
tures. Have  ye  ever  noticed  that  people  with  nice  reg'lar 
features  are  sometimes  most  irreg'lar  in  their  con- 
duct? Fact!  Give  me  the  small,  ugly  ones  with  no 
features  to  speak  of.  They  last  longer,  do  more  and 
have  less  to  regret.  Look  at  me!  My  life's  an  open 
book.  Only  no  one  wants  to  read  it.  Heigho !  You 
drew  Sylvia!  I  picked  Pinkie!  Lo*  bless  us. 
[Drinks.] 

BROOKE 

Still  you  have  your  boy. 

SAXON 

[Looks  at  him  curiously  and  stops  drinking.]  My 
boy?  Oh  yes.  I  have  him.  There  again  you  have 
the  pull  on  me.  Your  lad  is  straight  as  a  die — at  least 
he  looks  it. 

BROOKE 

He  is. 

SAXON 

It's  the  mother  in  him.  [Brooke  laughs.]  Yes,  it 
is.  Ormonde  never  had  one.  She  bolted  when  he  was 
three.     Pretty  tough  handicap  on  a  kid. 

BROOKE 

What  are  you  going  to  do  with  him? 

SAXON 

Do  with  him?  Not  a  damn  thing.  He  has  a  good 
seat  on  a  pony  an'  can  dance  with  the  best.  He  has 
nice  reg'lar  features,  too.     Takes  after  Pinkie.     If  it 

[78] 


Act  I:    BOYHOOD 

came  to  a  pinch  he  might  give  ridin'  lessons  or  teach 
the  tango.  But  that  would  seem  too  much  like  work. 
He'd  hate  to  get  paid  for  doin'  anythin'. 

BROOKE 

How  long  are  you  going  to  allow  that? 

SAXON 

I  don't  allow  it.  He  does  it.  He's  havin'  his  fling 
and  I'm  footin'  the  bills.  Leonard  hasn't  started  that 
racket  yet,  has  he? 

BROOKE 

He  hasn't  that  kind  of  nature. 

SAXON 

How  do  ye  know? 

BROOKE 

I  ought  to. 

SAXON 

But  do  ye?  There's  not  a  great  deal  of  difference 
in  boys'  natures,  take  'em  in  the  rough.  They're  all 
little  animals.  An'  that's  the  way  to  treat  'em.  Like 
horses.  Ye  don't  try  to  teach  a  colt  not  to  be  vicious. 
Ye  work  it  out  of  him.  Same  with  lads.  Work  it  out 
of  'em.  Give  'em  rope.  If  ye  don't  they'll  take  it  with- 
out yer  leave  an'  run  into  all  kinds  of  mischief. 

BROOKE 

They're  the  exceptions.  Most  boys  are  healthy- 
minded  where  the  home  influence  is  good. 

SAXON 

[With  a  little  harsh,  cackling  laugh.~\  Because  he 
rackets    about    do   ye    think    Ormonde    an    exception? 

[79] 


THE  HARP  OF  LIFE 

[Laughs  loudly.]  If  ever  a  boy  was  not  exceptional, 
he's  Ormonde.  He's  ordinary.  Damn  ordinary.  One 
of  ten  thousand.  The  good  an'  bad  all  jumbled  up 
waitin'  for  time  an'  experience  to  sort  it  out.  It's  about 
him  I  came  to  see  ye. 

BROOKE 

Oh? 

SAXON 

He  has  his  yacht  in  commission  an'  starts  off  in  a 
day  or  two  for  Norway.  Struck  me  it'd  be  a  nice  trip 
for  Leonard.  Give  him  an  idea  or  two  for  his  brush. 
What  do  ye  say? 

BROOKE 

It's  very  kind  of  you,  Godfrey 

SAXON 

No,  it  isn't.  It's  a  whale  of  a  big  boat  an'  it'd  be 
nice  for  Ormonde.     Send  him  along. 

BROOKE 

He  always  spends  his  holidays  with  us. 

SAXON 

Give  him  a  real  one  for  a  change  with  some  of  his 
own  age.     Knock  the  nonsense  out  of  him. 

BROOKE 

[Decidedly.']     No.     Time  enough  for  that. 

SAXON 

I  see.  Moth-balls  and  camphor.  Pah!  Give  him 
air  an'  license.  That'll  keep  the  moth  out  an'  the  blood 
circulatin'.  A  couple  of  months'  travel  'ud  be  an  en- 
cyclopedia to  him.     Might  paint  a  hell  of  a  picture. 

[80] 


Act  I:    BOYHOOD 

BROOKE 

[Finally.']     No. 

SAXON 

Right  ye  are,  old  pal.  I  suppose  ye'll  take  him  out 
o'  cotton-wool  some  day  an'  marry  him  off  young  to 
some  innocent,  bless  her  little  heart,  an'  they'll  prattle 
baby-talk,  the  little  dears.  [Helps  himself  to  another 
drink.]  My  dad  married  me  off  young — to  Pinkie. 
He'd  'a'  done  me  a  much  better  turn  if  he'd  turned  me 
loose  an'  let  me  look  'em  over  before  I'd  pitched  my 
tent.  I  wouldn't  have  come  such  a  purler  if  I'd  known 
who's  who.  [Shudders.]  What  a  cropper  I  came. 
[Quizzingly.]  Don't  ye  think  the  midnight  sun,  an* 
sweet  music,  with  a  grey  eye  or  so  at  hand,  better  for 
Leonard  than  a  family  trip  to  an  overrun  waterm'- 
place  ? 

BROOKE 

[Loudly.]     No.     I  do  not! 

SAXON 

Don't  bark  at  a  pal.     It  ain't  friendly. 

BROOKE 

I  don't  want  the  good  of  all  these  years  under  our 
influence  dissipated  by  contact  with  young  wasters, 
whose  only  occupation  is  sponging  on  their  parents. 
Living  useless,  vicious,  degenerate  lives.  Corrupt  them- 
selves and  corrupting  others.  I  want  to  keep  Leonard 
away  from  them.  [Telephone  bell  rings.  Brooke 
goes  to  it  and  takes  the  receiver.]  Hello!  Who  is  it? 
.  .  .  Oh!     You!     Where      are      you,      Leonard?  .  .  . 

[81] 


THE  HARP  OF  LIFE 

What's  the  matter?  ...  Is  the  train  late?  ...  I  see. 
.  .  .  Yes,  yes.  .  .  .  [Listens  impatiently,  then  angrily.] 
You'll  do  nothing  of  the  kind.  .  .  You  come  back  by 
the  last  train. 

SYLVIA 

[Comes  into  the  room,  having  changed  from  her  rid- 
ing-habit to  a  charming  summer  dress.  She  goes  to  her 
husband.]     Is  that  Len? 

BROOKE 

[Into  telephone.]  Wait  a  minute.  Here's  your 
mother.  [Turns  to  Sylvia.]  He  thinks  he  may  have 
to  stay  in  town  tonight.  The  idea!  [Into  phone.] 
You — catch — that — last — train 

SYLVIA 

[Puts  her  hand  over  his  mouth.]     Ssh!     Ssh! 

BROOKE 

[Into  phone.]     Hold  on. 

[Gives  Sylvia  telephone  and  strides  angrily  about.] 

SYLVIA 

Hello,  dear!  .  .  .  Yes,  it's  me.  .  .  .  It's  your  marm. 
[Brooke  bangs  angrily  on  table.]  Ssh!  Stop  your 
noise.  .  .  .  Where  are  you?  ...  I  see.  .  .  .  Yes,  yes. 
Oh!  Well,  try  to  catch  it.  .  .  .  They  won't  keep  you 
as  late  as  all  that.  Please  try.  Do.  .  .  .  No,  you 
won't  disturb  us  at  all.  [Brooke  again  bangs  angrily.] 
All  right.  [Smiling.]  Of  course  I  understand. 
[Brooke  again  bangs  angrily.]  It's  your  father  throw- 
ing things.  .  .  .  We're  not  afraid  of  him,  are  we?    We 

[82] 


Act  I:    BOYHOOD 

know  he  loves  us.  [Brooke  gives  an  angry  movement.'] 
Try  to.  .  .  .  Yes,  if  you  don't  come  I'll  understand. 
[Brooke  goes  to  take  receiver.  Sylvia  calls  hur- 
riedly.']    Look  out!     Good-bye. 

[Hangs  up  receiver  before  Brooke  can  take  it.  He 
takes  telephone,  quickly  removes  the  receiver  but 
finds  he  has  been  cut  off.] 

BROOKE 

Hello — hello — hello — Leonard !    Damn !    They've  cut 
him  off.      [Replaces  telephone.] 

SYLVIA 

He  was  afraid  we'd  be  waiting  up  in  case  he  missed 
the  last  train. 

BROOKE 

[Exasperated.]     He  mustn't  miss  it. 

SYLVIA 

Of  course  he  won't. 

SAXON 

Hasn't  he  a  latch-key? 

SYLVIA 

Oh,  yes.     Ever  so  long.     But  he  rarely  has  to  use  it. 
We're  always  up. 

SAXON 

Hasn't  he  ever  stayed  out  all  night? 

SYLVIA 

Never. 

SAXON 

[Smiles  suggestively.]     That'll  come.     It  will.     [To 
Brooke.]     Won't  it? 

[83] 


THE  HARP  OF  LIFE 

BROOKE 

[Severely.]  I  wish  you  wouldn't  judge  every  boy 
by  your  own. 

SYLVIA 

But  supposing  he  did  stay  out?  What  of  it?  Where 
would  be  the  harm  ? 

SAXON 

None  in  the  world.  It  would  be  educational.  Eh? 
[To  Brooke.] 

SYLVIA 

Why? 

BROOKE 

He  feels  that  degradation  is  a  necessary  part  of  a 
boy's  life. 

SYLVIA 

Do  you? 

SAXON 

Well,  they  have  to  learn  things  sooner  or  later.  The 
sooner  the  wiser. 

SYLVIA 

You're  perfectly  right.  Marshall  doesn't  think  boys 
should  be  told  certain  things.     I  do. 

SAXON 

You've  the  right  idea.  The  home-beautiful  is  idyllic 
until  the  boy  starts  out  swimmin'  by  himself.  If  he's 
not  taught  the  coast-line  the  first  nasty  rock  he  comes 
to,  one  with  a  woman  beckoning  him  on  to  it,  will  wreck 
him.  The  dear  old  primal  instinct,  bless  it !  Up  on 
the  rocks  he'll  go.  Then  where's  the  value  of  yer 
home-beautiful?     Eh,  old  friend? 

[84] 


Act  I:    BOYHOOD 

BROOKE 

Leonard  will  never  strike  that  rock. 

SAXON 

Why  not?  Most  lads  do.  We  can  only  warn  'em 
and  tell  'em  the  first-aid-to-the-injured  in  case  they 
go  smash. 

BROOKE 

I  don't  believe  in  telling  ugly  truths  to  as  sensitive  a 
boy  as  Leonard. 

SYLVIA 

You're  wrong,  Marshall.    Did  you  tell  your  son?    [To 

Saxon.] 

SAXON 

Every  little  thing.  Hid  nothing  from  that  up.  [In- 
dicates a  very  small  child.]  He  always  had  an  enquir- 
ing mind.  Puzzled  over  his  first  worm  for  days.  Saw 
Providence  in  it.  .  .  .  Now  if  a  small  boy  has  curiosity 
and  a  seeing-eye  the  ordinary  routine  of  a  living-day 
can  be  full  of  instruction.  Add  a  garden  with  flowers 
and  pet  animals  and  his  education  can  ripen  amazingly. 
And  the  wise  parent  doesn't  shirk  ripenin'  it.  He  takes 
advantage  of  every  detail  to  broaden  the  little  mind: 
stimulate  the  outlook.  Then,  when  he's  ready  to  go 
out  and  do  battle,  plant  the  final  seed  of  warning. 

SYLVIA 

That  is  exactly  what  I  want  him  to  do  with  Leonard. 

SAXON 

Sometimes  the  family  physician  is  helpful. 
[85] 


THE  HARP  OF  LIFE 

SYLVIA 

It  would  come  stronger  from  his  father.  [Turning 
to  Brooke.]  Ah,  my  dear,  I'm  sure  half  the  misery  of 
young  manhood  would  be  avoided  if  boys  were  told  be- 
fore leaving  their  homes  that  they  had  three  alterna- 
tives in  their  physical  life.  First,  self-respect  and  a 
decent  marriage.  Second,  a  liaison  in  which  a  decent 
girl's  life  is  tarnished  or  his  own  nature  blunted  by 
contact  with  a  courtesan.  Third,  vice — hideous,  un- 
imaginative, repellant — with  its  aftermath  of  degrada- 
tion. If  we  would  bring  up  a  race  of  clean-thinking 
men  we'd  hear  less  of  the  ruined  girls. 

[Brooke  makes  movement  of  annoyance.] 

SAXON 

[To  Brooke.]  She's  right.  [To  Sylvia.]  How  old 
is  Leonard?     He  must  be 

SYLVIA 

Nineteen. 

SAXON 

The  ripenin'  age.  A  youth  can  pass  from  boyhood 
to  adolescence  and  manhood  in  a  day — just  a  day.  Then 
there's  no  looking  back.     They  must  go  on. 

SYLVIA 

[Shivers  at  the  thought.]  I  told  him  as  a  child  of 
the  beauties  of  nature — love,  motherhood,  fatherhood. 
Marshall  reserved  the  right  to  tell  him  as  a  man  of  the 
horrors  that  come  through  the  abuse  of  nature.  And  so 
far  he's  shirked  it. 

[86] 


Act  I:    BOYHOOD 

BROOKE 

You  know  how  I  feel  about  it. 

SYLVIA 

Put  his  future  above  your  sensitiveness. 

SAXON 

Sensitiveness,  dear  lady?     Squeamishness! 

BROOKE 

If  I  were  to  tell  him  now  he'd  look  for  evil  in  every- 
thing. 

SYLVIA 

He  is  bound  to  meet  it. 

BROOKE 

[Impatiently.]  We've  argued  like  this  before.  I'll 
leave  him  his  illusions  a  little  longer. 

SAXON 

[Drily.]     Suppose  he  hasn't  any  now?. 

SYLVIA 

[Hotly.]      Indeed  he  has. 

SAXON 

I  wish  my  old  Dad  had  dropped  me  a  word  o'  warnin'. 
But  no.  "Let  him  find  things  out  for  himself/'  he 
thought.  And  I  did.  I  found  'em  all  right.  And 
Pinkie!  [To  Brookel]  If  you  hadn't  met  Sylvia 
where  would  you  have  landed ?  Eh?  Leonard  may  not 
be  so  lucky.     Wait  till  ye  see  the  kind  he  picks  out. 

[87] 


THE  HARP  OF  LITE 

SYLVIA 

Oh,  we  think  we  know  whom  Leonard  will  marry. 
We  hope  it  will  be  Olive. 

SAXON 

Really!  The  little  chicken?  [Sylvia  nods.]  A 
very  sweet  girl.  Keep  the  mother  away  or  she'll  spoil 
the  romance.  Dear  me!  I  wish  Ormonde'd  pick  out 
some  nice  girl  like  Olive. 

SYLVIA 

But  we're  not  sure  about  Olive,  though  we  think 
they  love  each  other. 

SAXON 

Youth  is  wonderful — tragic.  Touchin'.  Movin'.  Pa- 
thetic! [Suddenly.]  If  he  misses  his  last  train — an' 
I'll  make  a  small  wager  he  will  miss  it — where  will  he 
spend  the  night? 


With  friends. 
Of  his  own  age? 
And  a  little  older. 


SYLVIA 
SAXON 
SYLVIA 


SAXON 

Ah!  Then  it's  to  them  he'll  go  for  knowledge  if — 
f to  Brooke] — you  won't  provide  it.  They  know  more 
about  his  real  thoughts  than  either  of  ye. 

BYLVIA 

[Indignantly.]      Indeed  they  do  not. 

6AX0N 

\To  Brooke.]     You? 

[88] 


Act  I:    BOYHOOD 

BROOKE 

I  agree  with  Sylvia. 

SAXON 

Very  well,  then.  I  congratulate  ye  both  on  havin' 
such  a  charmm'  an'  virtuous  son.  May  history  repeat 
itself — like  parents,  like  children !  I  only  hope  as  Olive 
grows  older  she  don't  favor  her  mother.  That'd  be 
a  tragedy.  Now  I  must  run.  Good-bye,  Sylvia.  May 
all  your  birthdays  find  you  just  as  young,  with  greater 
beauty,  and  even  more  marvellous.  [Brooke  goes  to 
see  him  off.]      'Bye,  old  sour- face. 

BROOKE 

You  do  talk  a  lot  of  rot. 

SAXON 

O'  course  I  do.     Ain't  I   an  old  mountebank? 

BROOKE 

You  look  at  life  cross-eyed. 

SAXON 

[Going  out  on  to  porch.]     You  don't  look  at  life  at 

all.      [Turns  to  Sylvia,  and  kisses  his  fingers  to  her.] 

Y'r  servant,  Sylvia.      [Goes  out,  followed  by  Brooke.] 

[Sylvia    waves    from    window,   goes    to    table,    puts 

flowers  in  vase,  humming  a  tune  happily.     Takes 

old  flowers  on  to  porch  and  throws  them  away.    As 

she  re-enters  Brooke  also  comes  in.     Sylvia  goes 

to  table,  takes  vase,  and  puts  it  on  piano,  takes  a 

red   rose  from   bouquet.     Brooke   walks   down   to 

table     very     serious,     with     brows     knit.     Sylvia 

laughs  lightly.] 

[89] 


THE  HARP  OF  LIFE 

SYLVIA 

What  on  old  cynic  Godfrey  is ! 
[Putting  the  rose  in  her  hair.] 

BROOKE 

[Testily.]      Isn't  he? 

[Gets  legal  bag  from  desk,  brings  it  to  table,  opens  it, 
and  takes  out  papers.] 

SYLVIA 

[Looks  quickly  at  him.]  What's  the  matter?  Are 
you  cross? 

BROOKE 

I'm  sorry  you  spoke  like  that — before  him.  I'd 
rather  you  didn't  mention  that  subject  before  anyone 
else. 

SYLVIA 

I  won't.     But  you  will  promise ? 

BROOKE 

[Angrily.]     Yes!     Yes!     Yes! 

SYLVIA 

[Goes  to  him  and  laughs.]  You're  a  very  curious 
person.  When  you  are  overcome  with  affection  for 
Leonard  or  me  you  always  bark  loudly.  [Laughs  again 
as  she  remembers.]  Even  on  our  wedding-trip  I'd  look 
across  the  table  at  you  and  you'd  look  back  at  me  like 
a  shy,  happy  boy,  and  then  suddenly  the  love-mist 
would  fade  from  your  eyes  and  you'd  snap,  "Look  out, 
Sylvia,  the  head-waiter's  watching  us." 

BROOKE 

[Kisses  her  hand.]     You're  a  sweet  woman,  dear. 
[90] 


Act  I:    BOYHOOD 

SYLVIA 

You  promise  me  you'll  speak  to  Leonard? 

BROOKE 

Oh,  very  well. 

SYLVIA 

[After  a  pause.     Goes  to  window.']     Shall  we  go  out 
for  a  while?     The  air's  delicious. 

BROOKE 

[Reading  legal  papers.]     I  want  to  read  these  before 
dinner. 

SYLVIA 

Marshall ! 

BROOKE 

Yes? 

SYLVIA 

Fancy!     I'm    thirty-six    today. 

BROOKE 

[Softening.]      No  one  would  believe  it. 

SYLVIA 

That's  because  I've  been  happy. 

BROOKE 

Is  it? 

SYLVIA 

[Nods.]     I  was  lucky — I  found  you. 

BROOKE 

So  was  I — I  found  yon. 

SYLVIA 

[Smiling  happily.]     And  we  found  Leonard. 
[91] 


THE  HARP  OF  LIFE 

BROOKE 

Yes. 

SYLVIA 

[With  a  sigh  of  happiness,  sits  on  sofa.']  Heigho! 
It's  beautiful  to  be  a  happy  wife!  It's  wonderful  to 
be  an  adoring  mother!  [After  a  little  while.]  Mar- 
shall! [He  turns  and  looks  at  her,  she  points  to  the 
rose  in  her  hair.]      Like  it? 

BROOKE 

Very  nice.     Very  nice  indeed. 
[Turns  bach  to  papers.] 

SYLVIA 

"Very  nice  indeed !"  We  must  remember  not  to  lock 
the  door  to-night. 

BROOKE 

Why? 

SYLVIA 

In  case  he  has  forgotten  his  latch-key  and  catches 
the  last  train. 

BROOKE 

Oh,  yes. 

SYLVIA 

[Takes  book  and  goes  to  sofa.]  I  hope  he  does  catch 
it. 

BROOKE 

He  will.     I  told  him  to. 

SYLVIA 

Oh!     Then  of  course  he  will  catch  it.     Marshall! 

BROOKE 

Yes? 

[92] 


Act  I:    BOYHOOD 

SYLVIA 

Shall  we  sit  up  for  Leonard? 

BROOKE 

Certainly  not.     Why   should   we? 

SYLVIA 

I  don't  know.     It's  so  lonely  coming  into  an  empty 
room — at  night. 

BROOKE 

I'm  not  going  to  wait  up. 

SYLVIA 

[Laughing.']     Very  well.     I   will.     I'll   exercise  one 
of  my  privileges  as  a  mother,  and  wait  up. 

[She  reads  for  a  moment,  then  looks  up,  smiling  hap- 
pily. Brooke  pores  over  his  papers  with  knit 
brows.] 

THE    CURTAIN    FALLS 


[93] 


Act  II:     ADOLESCENCE 

The  same.     The  following  morning. 

Sylvia,  pale,  tired  and  anxious,  is  seated  on  the  sofa 
unwrapping  a  package.  She  discovers  a  purple 
photo-frame.  She  smiles  wanly,  removes  Leonard's 
photograph  from  the  old  pink  and  grey  frame  and 
places  it  in  the  new  one.  Brooke  comes  in,  very 
pre-occupied  and  goes  to  the  table  and  collects  legal 
papers  which  he  places  in  a  brief-bag,  unconsciously 
leaving  one  printed  page  on  the  table.  He  counts 
his  papers  and  finds  that  one  is  missing.  He  crashes 
the  brief-case  down  on  the  table,  covering  the  miss- 
ing paper,  crosses  angrily  to  writing  desk  and  noisily 
pulls  and  closes  all  the  drawers. 

The  moment  he  comes  in  Sylvia  sings  cheerily  to  cover 
any  trace  of  her  too-obvious  dejection. 

SYLVIA 

Have  you  lost  something? 

BROOKE 

[Irritably.']  There's  a  page  missing — a  printed  page. 
I  had  it  here  last  night.  I  suppose  it  has  been  tidied 
into   one  of  these  drawers.     I   wish  the   maids   would 

[94] 


Act  II:    ADOLESCENCE 

leave  things  where  I  put  them,  so  that  I  could  find  them 
in  the  morning. 

[Pulling  drawers  out  violently. ~\ 

SYLVIA 

[Lifting  up  case  and  discovering  missing  page.]  Is 
this  it? 

BROOKE 

Yes.     Where  did  you  find  it? 
[With  drawer  in  hand.] 

SYLVIA 

Under  your  bag. 

BROOKE 

[Smiles;  he  is  quite  relieved.]  You  wonderful 
woman ! 

SYLVIA 

[Hands  him  the  paper,  takes  the  drawer  from  him 
and  replaces  it  in  desk.]     Won't  you  be  late? 

BROOKE 

[Placing  the  printed  page  in  the  bag.]  No.  I'm 
not  in  court  until  the  afternoon.  The  case  may  not 
even  be  called  to-day.  I'll  go  in  by  the  "eleven 
o'clock."     You  were  singing. 

SYLVIA 

[Smiles  brightly  at  him.]  Thank  you!  Do  you 
think  so? 

[Sings  again.] 

BROOKE 

[Taking  her  chin  in  his  hand.]  How  tired  you're 
looking!  You  shouldn't  have  waited  up  for  Leonard 
last  night.     You're  feeling  better? 

[95] 


THE  HARP  OF  LIFE 

SYLVIA 

Oh,  much!  How  different  everything  seems  in  the 
morning  with  the  sun  shining!  Last  night  I  was  full 
of  forebodings. 

[She  laughs  and  shivers  J] 

BROOKE 

Are  all  your  forebodings  gone? 

SYLVIA 

[Nods.~\  Every  one.  When  I  read  Leonard's  tele- 
gram they  all  melted. 

BROOKE 

By  the  way,  where  is  that  telegram? 

SYLVIA 

It's  upstairs.  Poor  boy!  Here  we  were  blaming 
him  for  not  telephoning,  and  the  wretched  line  out  of 
order  all  the  time! 

BROOKE 

It's  very  odd.     It  was  all  right  at  this  end. 

SYLVIA 

I  mean  at  his  end.     How  worried  he  must  have  been ! 

BROOKE 

He  must  have  been !     What  about  us? 

SYLVIA 

Yes.     We  did  worry.     I'm  glad  we  haven't  got  six. 

BROOKE 

Still,  he  ought  to  have  told  us  where  he  was  going 
to  be. 

[96] 


Act  II:    ADOLESCENCE 

SYLVIA 

Now  I  come  to  think  of  it,  he  did  try  to  tell  me  some- 
thing over  the  telephone,  but  I  kept  insisting  on  his 
trying  to  catch  the  last  train.     So  it  was  all  my  fault. 

BROOKE 

You  always  try  to  make  excuses  for  him. 

SYLVIA 

Oh,  well,  that's  part  of  a  mother's  business.  Poor 
Leonard!  All  this  to-do  because  he  dares  to  spend  a 
night  away  from  the  family  wing!  No  wonder  some 
people  marry  young!  I  believe  you  only  married  me 
to  get  away  from  home  and  be  able  to  have  your  own 
way.  And  you've  never  had  your  own  way,  poor  dear ! 
.  .  .  You've  promised  me  you  will  speak  to  Leonard. 

BROOKE 

I'll  bring  him  back  with  me  this  afternoon.  Leave 
us  alone  for  a  while  after  dinner. 

SYLVIA 

[Smiles.]  All  right,  dear.  [Brooke  goes  out, 
Sylvia  watches  him  go  out,  and  all  her  brightness  dies 
away.  She  suddenly  becomes  grave  and  stands  a  mo- 
ment thinking.  She  dismisses  the  thought  with  a  sigh, 
mounts  the  ladder  and  changes  the  old  flowers  for  the 
new,  humming  again  as  she  does  so.  Leonard  runs  up 
on  to  the  porch  and  comes  in  through  the  window.  As 
soon  as  he  sees  her  he  stops  and  stands  silent  and  em- 
barrassed. Sylvia  hurries  joyfully  down  the  ladder.] 
Oh,  Leonard!     I  thought  you  might  come. 

[97] 


THE  HARP  OF  LIFE 

LEONARD 

[His  eyes  averted.}     I've  just  time  to  change. 

SYLVIA 

[Feels  the  rebuff  and  watches  him  closely.}  Is  that 
why  you  came  home? 

LEONARD 

Eh?  [Quickly.']  Oh!  And  to  see  you,  of  course. 
[Looks  at  her,  then  turns  away.]  You  weren't  worried 
about — last  night,  were  you? 

SYLVIA 

[Slowly.  Very  disappointed.]  Worried?  No,  not 
a  bit. 

LEONARD 

[Very  much  relieved.]     Father's  gone,  I  suppose? 

SYLVIA 

Not  yet.     You  can  go  in  together. 

LEONARD 

[Visibly  embarrassed.]  Oh!  [Nervously.]  Is  he 
— fussy,  about — last  night? 

SYLVIA 

No.  I  arranged  that.  You  sent  me  a  telegram — 
which  you  didn't — and  the  telephone  was  out  of  order 
— which  it  wasn't.     So  your  father  wasn't  worried. 

LEONARD 

[Relieved  again,  but  rather  ashamed.]  Thank  you. 
That's  all  right. 

SYLVIA 

We  did  rather  expect  you. 
[98] 


Act  II:    ADOLESCENCE 

LEONARD 

But  I  warned  you  on  the  phone. 

SYLVIA 

Still,  we  thought  you  might  try  to  catch  it. 

LEONARD 

[Irritably. ]  You  know  what  parties  are.  [Turns 
away  to  avoid  his  mother's  look.  Sees  the  new  frame  on 
mantelpiece.  Quickly  changes  the  subject.]  Oh,  that's 
come.  The  rest  ought  to  be  here  to-morrow  or  the  next 
day.  [Looking  at  the  screen  and  bowl.]  How  much 
better  the  room  looks,  doesn't  it? 

SYLVIA 

[Noticing  his  nervousness,  goes  over  to  him.]  Did 
you  enjoy  yourself? 

LEONARD 

[Embarrassed.]     Eh?     Oh,  yes.     Pretty  well. 

SYLVIA 

What  did  you  do,  play  cards? 

LEONARD 

No.     I  hate  cards.     I  always  lose. 

SYLVIA 

Just  talked? 

LEONARD 

[Hesitating.]     We — a — went  to  a  theatre. 

SYLVIA 

Oh!     What  did  you  see? 

LEONARD 

"The  Isle  of  Palms."     Comic-opera  thing. 
[99] 


THE  HARP  OF  LIFE 

SYLVIA 

Any  good? 

LEONARD 

Not   very.     Rather   trashy.     Tinkle-y   music    and    a 
wretched  book. 

SYLVIA 

What  a  pity! 

LEONARD 

Oh,  I  liked  it  all  right.     Some  jolly  dancing. 

SYLVIA 

Any  pretty  girls? 

LEONARD 

[Laughs  uneasily.]     A  few.     Very  few. 

SYLVIA 

Dressed  in  purple? 

LEONARD 

[Hesitates,     Smiles — turns  away  from  her.]     Don't 
be  silly. 

SYLVIA 

[Arranging  his  tie.]     Let  me  fix  your  tie.     Did  you 
miss  me? 

LEONARD 

[Without  looking  at  her.]     Of  course. 

SYLVIA 

[Half -chaffing.]     You  always  do.     Don't  you? 

LEONARD 

Rather! 

[Tries  to  get  away.] 

SYLVIA 

[Struggling  with  the  tie.]     Were  there  many  of  you? 
[100] 


Act  II:    ADOLESCENCE 

LEONARD 

No. 

[Uneasy  under  her  inquisition.] 

SYLVIA 

Do  I  know  them? 

LEONARD 

[Very  embarrassed.']  They've  never  been  down 
here. 

SYLVIA 

From  the  art-school? 

LEONARD 

[Half  choked  by  his  mother's  fingers.]  Look  out! 
[Releases  himself.]  I'll  finish  it.  I'm  going  to  change 
it,  anyway. 

SYLVIA 

Your  father's  going  in  by  the  "eleven  o'clock." 
You've  plenty  of  time. 

LEONARD 

[Indicating  his  clothes.]  But  these — I  wore  them 
yesterday. 

SYLVIA 

Don't  you  want  to  talk  to  me? 

LEONARD 

Of  course  I  do.  [Goes  to  her.]  What  a  funny 
question ! 

SYLVIA 

I  didn't  sleep  much  last  night,  Leonard. 
[Takes  his  hand.] 

LEONARD 

Why  not?     [Scenting  trouble,  he  takes  away  his  hand 
[101] 


THE  HARP  OF  LIFE 

and  looks  at  her  warily,  prepared  to  defend  himself.] 
Because  I  stayed  out? 

SYLVIA 

[Quite  hurt.  Quietly.']  It  wasn't  that — altogether. 
[Smiles  wistfully  at  him.]  I  lay  awake  last  night,  Len, 
wondering  what  this  will  be  like  when  you're  gone. 

LEONARD 

[Starts. :   Looks  at  her  with  distended  eyes.]     Gone? 

SYLVIA 

Yes.  When  you're  married.  [He  turns  away  from 
her.]  It  will  be  pretty  lonely  for  me  then,  won't  it? 
[Watches  him  closely.]  I  wonder  if  I  can  guess  what 
you  are  thinking? 

LEONARD 

[Defiantly,  turning  to  her.]     I  don't  think  you  can. 

SYLVIA 

I  wonder? 

LEONARD 

What  am  I  thinking? 

SYLVIA 

Aren't  your  thoughts  of  marriage? 

LEONARD 

[Hesitates;  then  boldly.]     Yes. 

SYLVIA 

I  knew  it. 

LEONARD 

How  did  you  know? 

SYLVIA 

You  have  had  something  on  your  mind  for  weeks.    At 

[102] 


Act  II:    ADOLESCENCE 

times — like  yesterday — you've  almost  told  me.     Haven't 
you? 

LEONARD 

Yes. 

SYLVIA 

You  are  in  love? 

LEONARD 

Yes. 

SYLVIA 

You  are  bad  at  keeping  secrets.  After  all,  why  have 
one  from  me?  And  such  a  vital  one?  Have  you  told 
— Olive — you  love  her? 

LEONARD 

[Turns  to  her.]     Olive?     Oh,  it's  not  Olive. 

SYLVIA 

[Looks  at  him  curiously,  without  surprise.]  It's  not 
Olive?  You're  in  love,  and  it's  not  Olive?  Who  is 
it,  then? 

LEONARD 

[Avoiding  her  look.]     You've  never  met  her. 

SYLVIA 

Why  haven't  I  met  her? 

LEONARD 

I've  not  known  her  very  long. 

SYLVIA 

How  long? 

LEONARD 

A  few  weeks. 

SYLVIA 

So  love  has  come  to  you! 

[103] 


THE  HARP  OF  LIEE 

LEONARD 

Yes,  mother. 

SYLVIA 

I'm  sure  she's  very  beautiful. 

LEONARD 

[Eagerly.']     She  is. 

SYLVIA 

[Wistfully.]     You'll  never  think  me  pretty  any  more. 

LEONARD 

[Distressed.]     Of  course  I  will. 

SYLVIA 

I  am  to  lose  my  admirer — my  play-fellow — my  son. 

LEONARD 

Don't  say  that.  I'll  always  love  you  and  admire  you. 
Always.     Really,  I  will. 

SYLVIA 

That  was  why  you  didn't  kiss  me  when  you  came 
in.  You  need  her  kisses — her  hands — her  voice.  [Sits 
forlornly  on  the  lounge.]  I  seem  suddenly  to  have 
grown  old.     Quite,  quite  old. 

[Beating  one  hand  against  the  other — her  face 
drawn.] 

LEONARD 

[Quite  distressed,  bends  over  her.]  You  have  so 
often  said  it  would  come.  And  you  have  laughed  and 
joked  about  it. 

SYLVIA 

I  know.     But  now  that  it  has,  I  can't  just  grasp  it. 
It — it  hurts.     I   haven't  even  seen  her.     Perhaps  it's 
[104] 


Act  II:    ADOLESCENCE 

because  I  don't  know  her.  That  must  be  it.  [Tries  to 
smile.]  Because  you  found  her  for  yourself.  It  must 
be  j  ealousy.  You've  met  someone  so  much  prettier  than 
I  am  and  you  love  her,  oh,  so  much  more  than  you  do 
me.  That's  it.  Jealousy.  [Struggles  to  get  complete 
control  of  herself  and  talk  in  a  matter-of-fact  way.] 
Tell  me  about  her.     What  is  her  name? 

LEONARD 

Mrs.  Vorona. 

[It  slips  out.     He  looks  frightenedly  at  his  mother, 
then  turns  away.] 

SYLVIA 

[Looks  at  him  in  amazement.     Goes  over  to  him.] 
Mrs.? 

LEONARD 

[As  if  correcting  himself.]     Zeila  Vorona. 

SYLVIA 

She's  been  married? 

LEONARD 

Yes. 

SYLVIA 

A  widow? 

LEONARD 

No.     She's  been  divorced. 

SYLVIA 

[As  if  afraid  to  ask  further  questions.]     Is  she  quite 
young? 

LEONARD 

No.    Not  quite.    But  what  does  that  matter? 

SYLVIA 

You  frighten  me. 

[105] 


THE  HARP  OF  LIFE 

LEONARD 

Why? 

SYLVIA 

[Suddenly,  as  if  thrusting  a  terrifying  thought  from 
her,  she  cries  out:]  Oh,  no!  That  would  be  too  hor- 
rible!    Too  horrible!  ! 

LEONARD 

Horrible!  Why?  [Hotly.]  She's  everything  that's 
fine  and  splendid.  Because  she  made  a  mistake  and. 
married  when  she  was  too  young  to  know  what  men  are 
— some  men — must  her  whole  life  be  spoilt? 

SYLVIA 

No.     Of  course  not.     Where  did  you  meet  her? 

LEONARD 

One  of  my  chums  took  me. 

SYLVIA 

Took  you? 

LEONARD 

Well?     What's  so  very  extraordinary  in  that? 

SYLVIA 

Nothing.    Only .    So  one  of  your  chums  took  you 

to  call  on  her  and  you  fell  in  love  with  her  ? 

LEONARD 

Yes. 

SYLVIA 

And  she  with  you? 

LEONARD 

I  think  so. 

[106] 


Act  II:    ADOLESCENCE 

SYLVIA 

Why  didn't  you  tell  me  then?  I  would  have  under-8 
stood,  and  sympathised,  and  helped  you.    You  know  that. 

LEONARD 

I  don't  know.     One  doesn't  talk  about  everything. 

SYLVIA 

You  used  to. 

LEONARD 

It  seemed  too  sacred.  Besides,  I  didn't  know  until 
yesterday  whether  she  really  cared  for  me.  I  couldn't 
talk  about  it — to  anyone. 

SYLVIA 

Not  even  to  me?  I've  been  young  too,  Leonard.  Don't 
hide  anything  from  me. 

LEONARD 

[Ashamed,  half  whispers.]  I'm  sorry,  Mother.  It 
was  rotten  of  me.  I  feel  that  now.  ...  I  couldn't  bring 
myself  to  say  anything  until  I  was  sure  she  cared.  That's 
the  real  reason. 

SYLVIA 

And  you've  asked  her  to  marry  you? 

LEONARD 

Yes. 

SYLVIA 

She's  consented? 

LEONARD 

Yes.     But  only  after  a  lot  of  bother.     It's  wretched 
being  so  young.     But  I   made   her   understand.     Age 
[107] 


THE  HARP  OF  LIFE 

doesn't  count  when  one's  in  love.    It  was  really  splendid 
of  her  to  accept  me — fine  of  her.    She's  wonderful. 

SYLVIA 

[Thinking. ]     When  did  you  ask  her? 

LEONARD 

Last  night. 

SYLVIA 

So  when  I  was  waiting  for  you — hoping  even  to  hear 
your  voice  on  that  telephone — you  had  already  asked 
someone  I  have  never  met  to  marry  you.  You  had  no 
thought  of  me  then,  had  you  ?  You  never  meant  to  catch 
the  last  train,  did  you? 

LEONARD 

Don't  make  it  too  hard  for  me. 

SYLVIA 

Oh,  I  didn't  mean  to  talk  like  a  mother. 

LEONARD 

You'd  have  been  all  smiles  and  congratulations  if  it 
had  been  Olive. 

SYLVIA 

Yes,  Leonard,  I  would.  You're  both  children.  You'd 
have  begun  life  together.  She'd  have  given  you  her 
first  love.  But  a  woman  who  is  not  quite  young  and  has 
been  married 

LEONARD 

[Angrily.]  Well?  And  if  she  has?  Lots  of  men 
marry  widows.  Would  you  have  objected  if  she  had 
been? 

[108] 


Act  II:    ADOLESCENCE 

SYLVIA 

It's  all  so  different  from  what  I  hoped. 

LEONARD 

It's  wretched  to  be  doubted — and  suspected — and 

SYLVIA 

[All  pity.]  I  don't  doubt  you.  I  am  sure  that,  next 
to  me — she  is  the  very  best  woman  to  make  you  happy. 
[Wistfully.]  There.  Don't  be  cross  with  your  poor  old 
mother. 

LEONARD 

[Relieved.]  You  will  be  nice  to  her  when  you  meet 
her,  won't  you? 

SYLVIA 

Why,  Len,  isn't  she  going  to  be  my  daughter? 

LEONARD 

Your  daughter?  [Looks  strangely  at  her  and  repeats 
slowly.]  Your  daughter!  How  funny  that  sounds! 
You  don't  look  any  older  than  she  does. 

SYLVIA 

Don't  I? 

LEONARD 

No.  [Suddenly.]  Oh,  she's  had  such  a  miserable 
life.     It's  wretched  for  some  women,  isn't  it? 

SYLVIA 

[Looking  intently  at  him.]  It  must  be — for  some 
women. 

LEONARD 

You  don't  know  much  of  the  world.     Father's  kept 
[109] 


THE  HARP  OF  LIFE 

you  away  from  it.  And  a  good  thing,  too !  It's  not  nice 
for  a  woman.    A  man  sees  it  all.     He's  in  the  thick  of  it. 

SYLVIA 

Are  you  in  the  thick  of  it? 

LEONARD 

[With  affected  manliness.]  Oh,  yes!  Rather!  I've 
heard  some  dreadful  things  lately — awful  things. 

SYLVIA 

I  was  afraid  you  would. 

LEONARD 

One  can't  be  a  molly-coddle  always — especially  when 
one's  out  in  life.  Really  in  life.  You  have  to  rub 
shoulders  with  people  and  hear  things.  Makes  you  pretty 
sick,  though — at  first. 

SYLVIA 

[Her  heart  sinking.]     It  must. 

LEONARD 

[Goes  on  impulsively.']  Still!  There's  no  use  blink- 
ing. You've  got  to  look  life  straight  in  the  face — when 
you're  a  man.  But  it  does  give  you  a  rotten  feeling — 
at  first.  You  know — as  if  you'd  lost  something.  [With 
a  sudden  burst  of  revelation,  as  he  sits  on  arm  of  sofa, 

facing  Sylvia.]      One  of   the  chaps  told  me  that 

[Brooke  enters,  stops  when  he  sees  Leonard  and  stands 
looking  at  him  with  knit  brows.]  Good  morning,  Father. 
[  Half -defiantly .  ] 

BROOKE 

[Walks   across    to   him.     Sylvia   rises    and   watches 
anxiously,  ready  to  intervene.]     In  future,  if  you  are 
[110] 


Act  II:    ADOLESCENCE 

going  to  stay  out,  tell  one  of  us  where  you  are.  Sup- 
pose your  mother  had  been  ill  last  night!  I  wouldn't 
have  known  where  to  reach  you.     Don't  do  that  again. 

LEONARD 

[Faintly  and  sullenly,  all  the  affected-manliness  gone.] 
All  right. 

BROOKE 

Another  thing.     I  didn't  like  your  telephoning  from 
the  station.     Why  not  have  told  us  before  you  went? 

LEONARD 

I  forgot  to. 

BROOKE 

[Sharply.]     What? 

LEONARD 

[Defiantly.]      I  tell  you,  I   forgot  to. 

BROOKE 

Wasn't  it  because  you  knew  we'd  ask  you  where  you 
were  going  to  spend  the  night? 

LEONARD 

No.     It  wasn't. 

BROOKE 

Where  did  you  spend  it? 

LEONARD 

With  a  friend. 

BROOKE 

Whom? 

LEONARD 

[Hesitates.]    Atherley.    Ned  Atherley.    I  don't  know 
why  you  take  this  tone  with  me. 

cm] 


THE  HARP  OF  LIFE 

BROOKE 

Don't  you?  Then  I'll  tell  you.  It's  the  first  time 
you've  shown  your  mother  such  deliberate  lack  of  con- 
sideration. 

SYLVIA 

Oh,  come  dear!     He  didn't 

BROOKE 

[Stops  her.  Continues  to  Leonard.]  It  would  have 
been  a  very  little  thing  to  have  eased  her  mind  by  saying 
where  you  were  going,  and  you  wouldn't  have  lost  a 
shred  of  manliness  by  doing  it. 

SYLVIA 

Don't  say  that,  dear.  Really,  he  forgot  There  were 
so  many  people  here  yesterday.     It  was  quite  natural. 

LEONARD 

[Full  of  his  wrongs.']  If  I  can't  stay  out  once  with- 
out all  this 

BROOKE 

You  are  at  liberty  to  stay  out  whenever  you  please, 
but  you  must  tell  us  where  you  are  going.  [More  gently.] 
If  you  had  seen  her  waiting  here — hoping  you'd  come,  or 
at  least  send  a  message  where  you  were,  and  known  her 
anxiety,  I  think  you  would  be  a  little  ashamed.  Please 
don't  do  it  again.     [Goes  to  table.] 

LEONARD 

[To  Sylvia.]  I'm  very  sorry.  I  didn't  think  you'd 
worry  like  that.     I'm  so  sorry. 

SYLVIA 

That's  all  right,  dear. 

[Motions  him   to   escape   while   his  father's   back  is 
[112] 


Act  II:    ADOLESCENCE 

turned  to  him.     Leonard  goes  softly  to  door  and 
opens  it.] 

BROOKE 

[Looks  around  just  as  Leonard  is  going  out.]  No 
school  to-day? 

LEONARD 

Oh,  yes.  I'll  be  a  little  late.  I  thought  I'd  come  home 
to  change  first. 

BROOKE 

You  needn't  do  that.  Come  along  with  me.  I'm  going 
now.     [Gathering  up  his  papers.] 

LEONARD 

[Anxious  to  avoid  going  in  with  his  father.]  But 
these!     [Indicating  his  clothes.] 

BROOKE 

They're  all  right.  I  want  to  talk  to  you  on  the  train. 
I'll  catch  the  five  this  afternoon.      [To  Sylvia.] 

SYLVIA 

[Nervously.]  Very  well,  dear.  A — perhaps  he'd 
feel  more  comfortable  in  fresh  things. 

BROOKE 

[Severely.]  He  looks  quite  well  enough  as  he  is. 
[To  Leonard.]     Come  on! 

SYLVIA 

You  mustn't  keep  angry,  dear.  I  thought  it  was  all 
over. 

BROOKE 

[Smiles  rather  wearily.]  I  didn't  mean  to  be.  We're 
both  on  edge  this  morning.  We  all  need  a  holiday.  Could 
you  be  ready  by  Monday? 

[113] 


THE  HARP  OF  LIFE 

SYLVIA 

[Joyfully.]     Oh,  yes.     Where  shall  we  go? 

BROOKE 

We'll  make  it  for  him  this  year.  [Looking  at  Leon- 
ard.] I'll  take  him  where  he'll  find  new  subjects  for 
his  brush.    You'll  come  back  with  a  full  wallet,  my  lad. 

SYLVIA 

Where? 

BROOKE 

Spain. 

SYLVIA 

[Delighted.]     I've  always  wanted  to  see  Spain. 

BROOKE 

[To  Leonard.]  Paint  nature  in  her  own  colours. 
You'll  do  more  there  in  two  months  than  in  a  year  at 
the  school. 

LEONARD 

[In  dismay.]     Two  months? 

BROOKE 

Perhaps  a  week  or  two  longer.    We'll  see. 

LEONARD 

[Very  white  and  determined.]  I  couldn't  go  away 
for  two  months — just  now. 

BROOKE 

Why  not? 

LEONARD 

I  couldn't.     [Mutters.]     Not  two  months. 

BROOKE 

You  can  go  on  with  your  drawing  just  the  same. 
[114] 


Act  II:    ADOLESCENCE 

LEONARD 

It  isn't  that. 

BROOKE 

What  is  it,  then? 

LEONARD 

I  can't  go.    That's  all.    I  can't. 

SYLVIA 

[Interposing  to  prevent  a  burst  of  anger  from 
Brooke.]  It  will  be  very  hot  in  Spain.  Couldn't  we 
go  somewhere  nearer? 

BROOKE 

[Brows  knit,  looking  keenly  at  Leonard.]  Why 
don't  you  want  to  go? 

LEONARD 

[Doggedly.]     I  can't.     And  what's  more,  I  won't, 

BROOKE 

[Angrily.]     What's  that? 

LEONARD 

[Vehemently.']     I  tell  you,  I  won't. 

BROOKE 

I  don't  like  your  tone,  my  boy. 

SYLVIA 

Now,  Marshall,  dear 

LEONARD 

[To  Sylvia.]  He  may  as  well  know  now  as  later. 
[To  Brooke.]     I'm  going  to  be  married. 

BROOKE 

[Straightens  up,  looks  at  him  for  several  seconds,  then 
repeats  in  amazement.]     Married? 
[115] 


THE  HARP  OF  LIFE 

LEONARD 

Yes. 

BROOKE 

When? 

LEONARD 

As  soon  as  possible. 

BROOKE 

To  whom? 

LEONARD 

To  Zeila  Vorona. 

BROOKE 

I  don't  know  her. 

LEONARD 

I  know  that. 

BROOKE 

[To  Sylvia.]     Do  you? 

SYLVIA 

[Quickly,  anxious  to  smooth  matters.']  Not  yet.  But 
I  feel  I  do.     He's  told  me  so  much  about  her. 

BROOKE 

When  did  he  tell  you  ? 

SYLVIA 

Just  now. 

BROOKE 

[To  Leonard.]  You  asked  her  to  marry  you  without 
consulting  us? 

'  LEONARD 

Why  shouldn't  I  ? 

BROOKE 

[Grimly.]  Exactly!  Why  shouldn't  you?  But,  as  a 
rule  one  is  rather  proud  of  the  woman  one  is  going  to 
marry. 

[1161 


Act  II:    ADOLESCENCE 

LEONARD 

I  am. 

BROOKE 

You  must  be !  Very  proud !  To  keep  her  hidden  from 
your  parents. 

LEONARD 

[Hotly.]     I've  only  known  her  a  few  weeks. 

BROOKE 

And  during  those  weeks  you  think  so  little  of  our  in- 
terest in  the  woman  you  want  to  marry  that  you  say 
nothing.     Why?     [Waits.]     What's  wrong,  my  boy? 

LEONARD 

Nothing's  wrong. 

BROOKE 

You  weren't  going  to  tell  me  now  if  I  hadn't  suggested 
taking  you  away.  Were  you?  [Waits.  Then  loudly.] 
Were  you? 

SYLVIA 

[Putting  her  hand  on  Brooke's  arm.]  Don't,  dear! 
Don't! 

BROOKE 

Were  you? 

LEONARD 

Yes.     Later. 

BROOKE 

Oh !  Later!  When  I  became  engaged  to  your  mother 
I  wanted  everyone  to  know  it. 

SYLVIA 

Don't  make  him  feel  badly. 

BROOKE 

Badly!     How  do  you  suppose  /  feel?     How  do  we 
know  who  or  what  this  woman  is  ? 
[U7] 


THE  HARP  OF  LIFE 

LEONARD 

[Furiously.']     She's  just  as  good  as  my  mother. 

BROOKE 

I  hope  so. 

SYLVIA 

[Her  arm  protectingly  around  Leonard.]  I'm  sure 
she  is. 

LEONARD 

[Trembling  with  passion,  trying  to  release  himself.'] 
Why  does  he ? 

SYLVIA 

[Holding  him  firmly.]  Don't,  dear!  Don't!  [To 
Brooke.]  You  mustn't  be  angry  because  he  didn't  tell 
us  sooner.     It's  quite  natural. 

BROOKE 

I  don't  think  so.    It  seems  most  unnatural  to  me. 

LEONARD 

You  didn't  consult  anyone,  did  you? 

BROOKE 

It  isn't  altogether  that.  Where  there's  nothing  to  be 
ashamed  of  there's  nothing  to  conceal. 

LEONARD 

[Excitedly.]  You've  no  right  to  think  there's  any- 
thing to  conceal.  I  didn't  speak  sooner  because  I  thought 
you'd  make  a  fuss  like  this.  And  I  hate  scenes.  There's 
nothing  to  hide.  [Almost  in  tears.]  I'm  proud  of  her. 
Grateful  to  her.     I  love  her. 

[Sylvia  tries  to  comfort  him.] 
[118]    ' 


Act  II:    ADOLESCENCE 

BROOKE 

[Watching  him  closely,  allows  the  outburst  to  subside 
and  then  resumes  his  examination.]  So  you  didn't  tell 
us  before  because  you  were  frightened  I'd  make  a  fuss — 
a  scene — eh? 

LEONARD 

Yes. 

BROOKE 

Was  that  your  only  reason? 

LEONARD 

What  else? 

BROOKE 

I  don't  know  "what  else". 
[Sylvia  tries  to  intervene.] 

Wait  a  minute.  [To  Leonard.]  That's  for  you  to 
say.     Where  does  she  live? 

LEONARD 

In  town. 

BROOKE 

When  are  we  to  meet  her? 

LEONARD 

Whenever  you  like. 

BROOKE 

The  sooner  the  better. 

EONARD 

All  right. 

BROOKE 

This  changes  everything.  Everything.  [Moves  about 
restlessly.  Stops  in  front  of  Sylvia.]  What  do  you 
say  ?     Disappointed  ? 

[119] 


THE  HARP  OF  LIFE 

SYLVIA 

[Bravely:  smiling  cheerfully.']  Of  course  not.  Why 
should  I  be?  He  loves  her.  He'll  be  happy.  That's 
all  I  care. 

BROOKE 

I  don't  like  it. 

LEONARD 

What  don't  you  like?  My  choosing  a  wife,  instead 
of  having  one  chosen  for  me — by  you? 

SYLVIA 

[Checking  him.']      Don't,  Leonard!     Don't! 

LEONARD 

[Shaking  himself  free.]  Oh,  it's  awful,  having  every- 
thing done  for  you.  Do,  for  Heaven's  sake,  let  a  man  live 
his  own  life. 

BROOKE 

But  you're  not  a  man. 

LEONARD 

Are  n't  I  ?     Then  what  constitutes  manhood  ? 

BROOKE 

To  have  lived — loved — and  suffered. 

LEONARD 

I  love.  And — [Almost  crying  again.] — I'm  suffering 
now.     [Covers  his  eyes.] 

SYLVIA 

[Compassionately.]  Oh,  Leonard!  Marshall!  [Looks 
piteously  at  Brooke.] 

BROOKE 

[Goes  to  Leonard,  puts  both  his  hands  on  the  boy's 
shoulders.]    I  see  you  are.    I  didn't  want  you  to  do  that 

[120] 


Act  II:    ADOLESCENCE 

My  doing — I've  said  things — the  heat  of  the  moment. 
It  came  as  such  a  surprise.  A  shock.  [Shakes  Leonard 
in  a  kindly  way.~\     Sorry,  old  man. 

LEONARD 

[Choking  back  his  tears.]  You  didn't  think  me  cap- 
able of  loving — did  you? 

BROOKE 

No.  I  suppose  I  didn't.  I  fancy  we've  both  thought 
of  you  as  a  child.     [To  Sylvia.]     Haven't  we? 

SYLVIA 

[Anxious  to  bring  them  together.]  And  it  was  very 
stupid  of  us.  We  see  now  he's  a  man,  don't  we?  [Signs 
to  Brooke  to  agree  with  her.] 

BROOKE 

[Heartily.]  Of  course  we  do.  Well,  we  must  get 
accustomed  to  the  new  conditions.  [To  Leonard.]  So 
your  boyhood  has  gone? 

LEONARD 

Oh,  quite. 

BROOKE 

From  now  on  you  want  to  be  treated  as  a  man. 

LEONARD 

Well,  you  see,  when  a  fellow 

BROOKE 

All  right.  All  right.  We'll  do  it.  Have  you  no 
regrets  ? 

LEONARD 

For   what? 

BROOKE 

The  passing  of  your  boyhood? 
[121] 


THE  HARP  OF  LIFE 

LEONARD 

No.    None. 

BROOKE 

[To  Sylvia.]  Doesn't  that  seem  rather  ungrateful — 
to  you? 

SYLVIA 

[Hurriedly,  with  a  little  forced  laugh.']  Why,  not 
at  all.  I'm  happy  in  his  happiness.  [To  Leonard.] 
And  you  are  happy,  dear,  aren't  you? 

LEONARD 

[Gasping  miserably  through  half -sobs.]  Oh,  yes.  I'm 
— happier — than  I  ever  thought  I  could  be. 

[Turns  away  shamefacedly  and  wipes  his  eyes.] 

BROOKE 

[Looks  at  Sylvia.  She  motions  him  to  make  it  up.] 
Don't  take  what  I  said  the  wrong  way.  You  caught  me 
unawares.  I'm  sure  she's  everything  you  think  her. 
Sylvia  and  I  will  be  just  as  proud  of  her  as  you  are. 
There,  my  lad.  All  over.  [Leonard  rises  and  turns 
to  face  him.]     All  gone. 

LEONARD 

[His  eyes  cast  down.]  I'm  so  ashamed — for  saying 
the  things  I  did — and  losing  my  temper.  Rotten  thing 
of  me  to  do.  You've  been  so — splendid  to  me — always. 
A  little  rough  on  me  now  and  again — and  all  that — but 
— on  the  whole — splendid.  [Looks  up  at  Brooke.] 
Won't  happen  again.  [Holds  out  his  hand.]  Let  by- 
gones be  by-gones.  I  will  if  you  will. 
[122] 


Act  II:    ADOLESCENCE 

BROOKE 

[Laughing  heartily  and  gripping  his  hand.~\  Well, 
that's  very  nice  and  generous  of  you,  and  I  appreciate 
it.  We've  fought  it  out  like  a  couple  of  men.  Now  we 
shake  hands  and  throw  away  the  gloves.  [Drops 
Leonard's  hand.  Looks  at  his  watch.]  Hello!  We've 
missed  the  eleven  o'clock.  Run  along  and  change.  It'll 
cool  you  off  and  make  you  feel  better.     Go  on. 

LEONARD 

[Anxious  to  escape,  runs  out,  gasping.]  I  won't  be 
long.     I'll  just  change  my  tie. 

BROOKE 

[Looks  at  Sylvia,  gives  a  gesture  of  hopelessness, 
sinks  into  chair,  head  in  hands  and  sighs.]  What  a 
pity !    What  a  great  pity ! 

SYLVIA 

[Shivers  in  spite  of  herself,  goes  to  Brooke.]  You 
mustn't  feel  that 

BROOKE 

He's  such  a  boy.    A  child. 


SYLVIA 


I  know.     Still- 


BROOKE 

Did  he  tell  you  anything  about  her? 

SYLVIA 

Very  little.      [Quickly.]      It  was   all  in  her  favour. 

BROOKE 

I'll  get  him  to  take  me  there  to-day.     I'll  invite  her 
down  here  this  week-end. 

[128] 


THE  HARP  OF  LIFE 

SYLVIA 

But  Leonard  may  not  like  to 

BROOKE 

Why  shouldn't  he?      [Firmly.]      I'm  going  to  meet 
her  to-day. 

SYLVIA 

[Sighs  wearily.]      Very  well. 

BROOKE 

[Thinks:    then    regretfully.]      What    a    pity!      He's 
such  a  boy. 

SYLVIA 

How  old  were  you  when  you  asked  me  to  marry  you? 

BROOKE 

Oh,  I  was  twenty-one. 

SYLVIA 

Yes — an  old  man. 
[Brooke  laughs  and  pats  her  hand.] 
We  were  engaged   for   weeks   before  we  told.      Re- 
member ? 

BROOKE 

Yes.     But  I  wanted  to  tell  everyone. 

SYLVIA 

I  didn't.    I  felt  just  the  same  as  Leonard.     It  seemed 
too  sacred  to  tell. 

BROOKE 

Well,  I  hope  it  turns  out  as  happily,  dear. 

SYLVIA 

[Quickly.]     Oh,  it  will.     Of  course  it  will. 
[Leonard  hurries  back.     He  has  changed  his  collar 
[124] 


Act  II:    ADOLESCENCE 

and  tie.    He  now  wears  a  purple  one.    He  picks  up 

his  hat.     Brooke  and  Sylvia  rise  the  moment  he 

comes    in.      Brooke    goes    toward    door.      Sylvia 

meets  Leonard.] 

[Looking   at   his   tie.]      Oh!     Purple!     Well,   well! 

And,  like  Napoleon,  you've  wept  over  it!      [Rubs  the 

spot  with  her  handkerchief  and  pats  his  face.]      You 

really  are  a  baby,  Len. 

LEONARD 

[Protestingly.]      I  say,  mother 

SYLVIA 

Oh,  it's  only  to  me  that  you're  a  baby,  and  I  won't 
tell  anyone. 

LEONARD 

[Gets  away  quickly  from  her.]     I'll  catch  the  "five" 
as  well,  mother. 

SYLVIA 

All,  right,  dear. 

[Goes  down  between  them  to  say  "Good-bye".] 

BROOKE 

[Has  taken  his  hat  from  Ottoman,  crosses  to  Sylvia, 
kisses  her  left  cheek.]     Good-bye. 

LEONARD 

[Kisses  her  right  cheek  at  the  same  time.]     Good- 
bye. 

SYLVIA 

My  two  children. 

BROOKE 

H'm!    Yes!     [Looks  at  watch  and  crosses  to  door.\ 
Bring  my  bag,  Leonard. 

[125] 


THE  HARP  OF  LITE 

[They  both  go  out.  Sylvia  watches  them  through 
the  open  door.  Stands  thinking.  Then  she  looks 
•wistfully  at  the  new  purple  frame  and  sighs.  Then 
looks  at  the  new  screen  and  bowl  and  gives  a  hope- 
less, forlorn  gesture.  She  closes  up  the  step-ladder 
and  takes  it  out  on  to  porch.  As  she  puts  it  down 
she  sees  someone  in  the  distance.  She  waves  and 
cries  out: 

SYLVIA 

Oh!  Elizabeth!  Don't  go  round  to  the  door.  Come 
in  this  way.     [Laughs.']     What  a  climb  it  is ! 

[Mrs.  Hood  toils  wearily  onto  the  porch  followed  by 
Olive.  Mrs.  Hood  is  out  of  breath,  flushed,  and 
angry.  Olive  is  pale  and  anxious.  Sylvia  shakes 
hands  with  Mrs.  Hood  and  kisses  Olive.  Mrs. 
Hood  sits  in  arm-chair.] 

You've  missed  Marshall  and  Leonard. 

MRS.    HOOD 

[Gloomily  sitting  bolt  upright.]      Is  that  so? 

SYLVIA 

You  must  have  come  by  the  lower  road. 

MRS.    HOOD 

I  did. 

[There  is  a  dead  pause.  Sylvia  feels  there  is  some- 
thing wrong,  but  hesitates  about  beginning  anything 
unpleasant.] 

Well?    What  are  we  going  to  do? 

SYLVIA 

[Brightening  up.]  Anything.  I  have  the  whole 
morning  before  me.     Let  us  have  a  game  at  something. 

[126] 


Act  II:    ADOLESCENCE 

MRS.    HOOD 

Game!     I  don't  play  games. 

SYLVIA 

Well,  we'll  play  some  indoor  game.     I  have  heaps  I 
play  with  Leonard. 

MRS.    HOOD 

How  can  you  stand  there  smiling  and  smirking? 

SYLVIA 

What  do  you  want  me  to  do?     Frown? 

MRS.    HOOD 

Don't  tell  me  Leonard  hasn't  told  you! 

SYLVIA 

Told  me  what? 

MRS.    HOOD 

What  he's  done  to  Olive. 

SYLVIA 

[Looks  frightenedly  at  Olive,  then  at  Mrs.  Hood. 
Faintly:]     What  has  he  done? 

MRS.    HOOD 

Ruined  her  life. 

OLIVE 

Mother's  quite  wrong.     He 

MRS.    HOOD 

[Jumping  in  on  her.]  Stop!  [To  Sylvia.]  I 
thought  there  was  something  wrong  yesterday  evening 
when  she  wouldn't  eat  her  dinner — girls  of  her  age 
don't  refuse  their  food  for  nothing.  This  morning  she 
had  a  headache — wasn't  well  enough  to  come  down  to 
breakfast.  Then  I  knew  something  was  the  matter. 
[127] 


THE  HARP  OF  LIFE 

So  I  just  wormed  it  out  of  her.  Your  son  is  the  cause 
of  her  headache  and  heartache.  A  snake  in  the  grass, 
that's  what  your  son,  Leonard,  is. 

OLIVE 

[Very  distressed.']      Mother! 

MRS.    HOOD 

Hold  your  tongue!  [To  Sylvia.]  A  snake  in  the 
grass. 

SYLVIA 

Don't  say  that. 

MRS.    HOOD 

What  do  you  call  it? 

SYLVIA 

[Bewildered.]     Call  what? 

MRS.    HOOD 

Weren't  they  as  good  as  engaged? 

SYLVIA 

I  would  hardly  say  that.     We  thought  they  might  be. 

MRS.    HOOD 

He's  ruined  her  life — that's  what  he's  done. 

SYLVIA 

I   don't  believe  it. 

OLIVE 

It's  not  true. 

MRS.    HOOD 

[Glares  at  Olive,  turns  to  Sylvia.]  What  else  is  it 
but  ruin  to  a  child  with  her  nature  when  a  young  ne'er- 
do-well,  after  leading  her — and  everyone  else — to  think 
he  was  in  love  with  her,  suddenly  turns  round  and  tells 

[128] 


Act  II:    ADOLESCENCE 

her  he's   not?     That  he  won't  marry   her,   and  never 
meant  to. 

OLIVE 

[Rises  and  walks  away.']     Oh! 

MRS.    HOOD 

[Nodding  toward  Olive.]  There!  Did  you  see 
that?  She  wouldn't  have  dared  get  up  and  walk  away 
while  I  was  speaking  yesterday  afternoon.  Now  look 
at  her !  .  .  .  Olive  could  marry  the  best. 

SYLVIA 

I'm  sure  she  could.     Please  don't  shout  at  me. 

MRS.    HOOD 

Like  a  couple  of  fools,  we  set  our  hearts  on  him.  I 
wish  we'd  never  seen  him — nor  any  of  you. 

OLIVE 

Mother ! 

MRS.    HOOD 

Look  at  her !     Her  life  is  ruined — unless  you  step  in. 

SYLVIA 

What  can  I  do? 

MRS.    HOOD 

Do?  What  I  would  if  he  were  my  son,  and  he'd 
ruined  a  girl. 

SYLVIA 

Why  do  you  keep  saying  "ruined"? 

OLIVE 

Mother's  quite  wrong. 

[129] 


THE  HARP  OF  LIFE 

MRS.    HOOD 

There,  do  you  see  that?  Never  a  word  of  contradic- 
tion out  of  her  lips  until  to-day.  Can't  you  see  she's 
been  ruined?     Thrown  over  by  your  precious  son? 

OLIVE 

He  didn't  throw  me  over.  We  were  never  engaged. 
He  never  asked  me  to  marry  him. 

MRS.    HOOD 

You  see  how  she  defends  him  ?  And  her  heart  broken ! 
Isn't  that  devotion? 

SYLVIA 

But  she's  right.     There  was  no  engagement. 

MRS.    HOOD 

They  were  as  good  as  engaged.     Everyone  knew  that. 

SYLVIA 

Not  through  me.  I've  never  mentioned  it.  I  was  wait- 
ing for  Leonard  to  tell  me.  You  make  me  miserable 
when  you  tell  me  that  Olive  has  taken  it  so  much  to  heart. 
But  she  would  be  infinitely  unhappier  if  Leonard  mar- 
ried her  not  loving  her,  just  because  we  thought  he 
should. 

MRS.    HOOD 

Who  wants  him  to  love  her?  It's  all  stuff  and  non- 
sense the  talk  about  love.  So  long  as  a  girl  is  nice- 
looking  and  well-behaved  and  comes  of  respectable 
people  what  does  it  matter  which  girl  a  boy  marries? 

OLIVE 

Oh!     You  don't  know  how  ridiculous  that  sounds. 
[130] 


Act  II:    ADOLESCENCE 

MRS.    HOOD 

Ridiculous!  [To  Sylvia.]  You  see!  Do  you  think 
she's  ever  called  anything  I've  said  ridiculous  before? 
Never!  .  .  .  Your  son  has  got  to  marry  some  time. 
They  all  do.     Very  well!     Let  him  marry  her. 

OLIVE 

Oh! 

SYLVIA 

That's  impossible. 

MRS.    HOOD 

Why  is  it? 

SYLVIA 

Because  he's  engaged  to  be  married. 

[Olive  turns  round  slowly  and  looks  at  Sylvia.] 

MRS.    HOOD 

[In  blank  astonishment.]  Engaged?  Then  what  ex- 
cuse has  he  got  for  treating  Olive  as  he  has? 

OLIVE 

[Suddenly  rising  and  facing  her  mother.']  He  doesn't 
need  any  excuse.  It  will  not  make  the  slightest  dif- 
ference to  me. 

MRS.    HOOD 

Olive ! 

OLIVE 

[Goes  straight  over  to  her  mother.]  You've  made  all 
kinds  of  cruel  and  absurd  charges  against  Leonard — 
charges  so  ridiculous  and  unjust  that  you  make  me 
ashamed  of  being  your  daughter. 

MRS.    HOOD 

Ashamed  of  me? 

[181] 


THE  HARP  OF  LIFE 


Yes.  Ashamed  that  I  should  have  a  mother  who 
could  show  so  little  thought  for  another's  feelings. 
Sylvia,  Leonard  has  never  made  love  to  me,  has  never 
asked  me  to  marry  him.  And  the  fact  that  he  isn't  going 
to  is  a  matter  of  absolute  indifference  to  me. 

MRS.    HOOD 

Olive,  how  dare  you? 

OLIVE 

Wait  until  I've  finished.  I've  let  you  say  what  you've 
liked  all  my  life  without  contradiction  about  things  that 
didn't  matter.  They  were  not  worth  contradicting.  But 
now  that  you've  brought  Leonard's  honour  into  question 
I  want  to  deny  the  truth  of  everything  you've  said  about 
him.  Sylvia,  Leonard  has  always  treated  me  generously, 
unselfishly,  nobly.  But  for  his  kindness  and  under- 
standing and  pity  I  don't  know  how  I  should  have  lived 
through  the  last  few  years.  And  now  to  hear  him  abused 
and  insulted  when  he  is  not  here  to  defend  himself, 
and  about  me,  is  unbearable.  He  is  everything  that  is 
chivalrous  and  fine.  And  I'm  glad  that  he's  found 
someone  worthy  of  his  love.  Because  I  don't  love  him. 
I  don't  love  him.     I  don't  love  him. 

[The  strain  has  been  too  great.  She  buries  her  face 
in  her  hands  and  weeps  on  Sylvia's  shoulder.] 

I  don't  want  to  marry  him.  I  never  wanted  to  marry 
him.     I  wouldn't  marry  him. 

[Sylvia  puts  her  arms  sympathetically  round  her.] 

[Mrs.  Hood  rises,  and  is  about  to  speak  to  Olive.] 
[1321 


Act  II:    ADOLESCENCE 

SYLVIA 

[Quietly. ,]     I  shouldn't  say  any  more  just  now. 

MRS.    HOOD 

We'll  talk  this  over  when  I  get  you  home,  my  girl. 

OLIVE 

[Facing  her  mother  defiantly.]  No,  we  will  not.  If 
you  ever  speak  of  Leonard  again  as  you  did  just  now, 
I'll  go  straight  out  of  the  house  to  any  relative  who'll 
take  me  in. 

MRS.    HOOD 

[Grimly.]     Oh,  will  you? 

OLIVE 

I  will.  I  have  my  own  life  to  live,  wretched  as  it  may 
be,  and  because  you're  my  mother  you  have  no  right  to 
make  it  one  long  torture.  You've  never  tried  to  under- 
stand me.  You've  just  asserted  your  authority  over  me 
as  a  mother  until  I  hate  the  very  word,  "mother." 

MRS.    HOOD 

Olive! 

OLIVE 

[Weakly  and  despairingly.]  If  I  had  anywhere  else 
to  go  I  wouldn't  go  back  with  you  now.  [To  Sylvia.] 
I'm  so  unhappy.     So  wretchedly  unhappy. 

[She  hides  her  head  on  Sylvia's  shoulder.  The  sound 
of  a  man  whistling  comes  in  through  the  open  win- 
dow. They  all  start — Olive  in  alarm,  Mrs.  Hood 
in  anger.  Sylvia  listens  anxiously.  Olive's  teeth 
are  chattering  with  fear.] 
[133] 


THE  HARP  OF  LIFE 

Has  he  come  back?  Leonard?  I  couldn't  bear  to 
see  him !     I  couldn't !     I  couldn't ! 

SYLVIA 

[Tries  to  quiet  her.]  Ssh!  Ssh!  My  dear  Olive — it 
can't  be  Leonard. 

[Goes    out    through    window    onto    porch    and    looks 

down    the   pathway.      Comes    back    and   speaks   to 

Olive.] 
Mr.  Saxon. 

MRS.    HOOD 

[In  disgust.]  I  couldn't  bear  to  see  him  in  my  present 
state  of  mind.  [To  Olive.]  As  you  have  no  other  rela- 
tives to  go  to  perhaps  you'll  come  home  with  your 
mother. 

[Saxon  appears  on  porch,  and  looks  in  through  the 
window.  He  is  in  a  well-worn  country  walking- 
suit,  knee-breeches,  gaiters,  peaked  cap,  and  carries 
a  stout,  knotted  stick.] 

SAXON 

[Doffing  his  cap  with  a  flourish.]  Well,  well!  This 
is  a  pleasant  sight  for  an  old  man.  Two  roses.  That's 
what  ye  are.  A  pale  'un  an'  a  pink  'un.  H'are  ye  this 
lovely  mornin'?  [Shakes  hands  with  Sylvia.]  I  needn't 
ask.  No  flower  fairer  [shakes  Olive's  limp  hand]  and 
little  "Miss  Forget-me-not"?  How  is  your  dear  mother? 
Surely  she  hasn't  let  you  out  alone? 

[Mrs.  Hood  snorts.] 

[Listens.]  That  sounds  strangely  familiar.  [Slowly 
turns  and  sees  Mrs.  Hood.]     Ah!     There  she  is.     As 

[134] 


Act  II:    ADOLESCENCE 

large  as  life.  [Goes  to  her  with  outstretched  hands.] 
Honest  and  ruddy  with  the  joy  of  life  and  a  clear  con- 
science. [Takes  Mrs.  Hood's  unwilling  hand.]  It  does 
one's  heart  good  to  look  at  ye  this  wonderful  day.  [Looks 
curiously  at  her  with  his  keen  twinkling  eyes.]  Ye  car- 
ry a  benediction  with  ye.  Always  lookin'  for  good  in 
every  thin'  and  [looks  at  Olive]   fmdin'  it. 

MRS.    HOOD 

[Irritably.]     You  can  talk  more  nonsense 

SAXON 

Flatterer!  Nonsense  is  for  youth.  [Languishingly.] 
If  I  were  only  a  year  or  two  younger  an'  you  a  year  or 
two  older 

MRS.    HOOD 

Olive.  [Goes  indignantly  across  the  room  to  the 
door.] 

SAXON 

Ye  carry  my  heart  with  ye,  dear  lady. 

MRS.    HOOD 

Come,  Olive.  [Goes  out  without  replying  to  or  even 
looking  at  him.] 

SAXON 

[Winks  at  Sylvia:  then  noticing  the  gravity  of  her 
face.]     Am  I  in  the  way? 

SYLVIA 

No.     Just  a  minute,  Godfrey. 

SAXON 

Right.     [Goes  out  on  porch  and  lights  a  cigar.] 
[135] 


THE  HARP  OF  LIFE 

SYLVIA 

[Her  arm  around  Olive.]  It  was  splendid  of  you 
to  defend  Leonard. 

OLIVE 

But  Sylvia,  I  don't  love  him — really  I  don't  love  him. 
[In  distress.  ]      Oh,  you  mustn't  think 

SYLVIA 

I  don't  think.  I  know  you  love  him,  and  I'm  bitterly 
disappointed  that  you're  not  going  to  be  his  wife.  You 
have  character,  Olive.  But  don't  lose  your  sweetness. 
And  you  mustn't  be  too  hard  on  your  mother. 

OLIVE 

[Struggling  to  control  herself."]     Please — don't!     I — 

can't — trust — myself — to — to [Sylvia   impulsively 

takes  Olive  in  her  arms  and  kisses  her.] 

MRS.    HOOD 

[Calls  outside.]     Olive! 

[Sylvia  and  Olive  go  out  together.] 

[Soxon  looks  in,  sees  that  the  room  is  empty,  comes  in 
from  the  porch,  his  hands  plunged  deep  in  the  cross- 
pockets  of  his  breeches,  his  brows  knit,  his  whole 
attitude  one  of  dejection. 

[Sylvia  returns,  closes  the  door,  stands  thinking  a 
moment,  troubled:  then  turns  to  Saxon.] 

saxon 
[Watching  her  keenly.]      The  child  had  been  cryin'? 

SYLVIA 

Yes. 

[136] 


Act  II:    ADOLESCENCE 

SAXON 

Poor  kid.  Tears  sting  at  her  age.  They  have  more 
salt  in  'em.  At  mine  the  ducts  are  dry.  .  .  .  Youth 
thinks  life  so  serious.  They've  no  idea  how  amusin'  it 
really  is.  [Chuckles  mirthlessly.]  Poor  kid.  I'll  wager 
that  mother's  at  the  bottom  of  it.  Makes  ye  want  to  weep 
to  even  look  at  her.  But  to  live  with [Shivers  vio- 
lently.]    Bit  upset  yerself,  ain't  ye? 

SYLVIA 

[Rousing  herself :  trying  to  smile.]     I'm  all  right. 

SAXON 

Rather  I  went? 

SYLVIA 

No,  no. 

SAXON 

Marshall's  gone,  o'  course? 

SYLVIA 

Yes.     And  Leonard. 

SAXON 

[Astonished.]     Oh!    Was  he  here  this  mornin'? 

SYLVIA 

Yes.     Of  course. 

SAXON 

But  he  didn't  come  home  last  night?     Did  he? 

SYLVIA 

No. 

SAXON 

[Sinks  into  a  chair,  chuckling.]  I'd  ha'  won  me 
wager. 

[137] 


THE  HARP  OF  LIFE 


You  would. 


SYLVIA 


SAXON 


Did    he   enjoy   the   theatre? 
theatre. 


He    went   to   the 


SYLVIA 
SAXON 

I   was  there,  too. 


They  sat  just 


I  know. 

Yes.     He  went, 
above  me  in  a  box. 

SYLVIA 

[Unconcerned.}     Did  they} 

SAXON 

[Nods  meaningly.}  Just  above  me.  Very  nice  they 
looked  together,  too.  Delightful.  The  young  dog.  It 
gave  me  quite  a  pang.  Didn't  you  tell  me  it  was  to  be 
a  "stag"  party  Leonard  was  going  to?  Just  men?  Or 
did  I  dream  it? 

SYLVIA 

[On  her  guard:  she  is  suspicious  of  his  manner.}  I 
daresay  he  had  dinner  with  them. 

SAXON 

Oh,  no,  he  didn't.  He  was  at  the  next  table  to  mine 
at  dinner.  [She  looks  at  him,  dreading  what  he  may 
tell  her.}  He  was.  Really.  With  the  same  companion. 
I  heard  him  tell  the  head-waiter  to  get  him  a  box.  So 
I  thought  I'd  trot  along  too.  Pretty  little  opera.  An' 
a  pretty  little  pair  they  made.  .  .  .  Well?  Ye  don't 
seem   surprised  ? 

[138] 


Act  II:    ADOLESCENCE 

SYLVIA 

Why  should  I  be? 

SAXON 

Exactly.  Why  should  ye  be?  They  all  do  it.  .  .  . 
Tho'  I  must  admit  I  didn't  think  Leonard — somehow — 
so  soon.  .  .  .  And  with  such  a  remarkable  person.  .  .  . 
Struck  me  as  odd.  .  .  .  No? 

SYLVIA 

There  was  nothing  odd  about  it.     Leonard  told  me. 

SAXON 

[Very  astonished.]  Told  ye?  Well,  what  d'ye  make 
o'  that !  .  .  .  Told  ye,  did  he  ?  That's  a  new  one.  When 
I  was  a  lad  we  didn't  tell  our  mothers  those  sort  o' 
things.     That  we  didn't. 

SYLVIA 

[With  growing  alarm.]     What  things? 

SAXON 

Oh !  Dinner  en  tete-a-tete  and  a  quiet  little  box  at  a 
theatre  with  a — delightful  companion. 

SYLVIA 

Why  shouldn't  Leonard  tell  me  he  went  to  a  theatre 
with  his  fiancee? 

SAXON 

[Springs  up  and  looks  at  her  in  blank  amazement: 
then  he  growls  ominously.]  His  what?  Fiancee?  .  .  . 
Did  he  tell  ye  that? 

SYLVIA 

He  did. 

SAXON 

And  you  believed  it? 

[189] 


THE  HARP  OF  LIFE 

SYLVIA 

Why  shouldn't  I  believe  it? 

SAXON 

Pah!     Men  don't  marry  that  kind  of  woman. 

SYLVIA 

[With  fear  at  her  heart.]     What  kind  of  woman? 

SAXON 

[Laughs  harshly.]  Fiancee!  Zeila  Vorona!  Ha! 
Wouldn't  she  like  the  chance?  ...  So  he  told  ye  that, 
did  he? 

SYLVIA 

Do  you  know  Mrs.  Vorona? 

SAXON 

Know  Zeila?     Everyone  knows  her — in  that  set. 

SYLVIA 

What  set? 

SAXON 

The  one  Leonard  is  evidently  movin'  in.  .  .  .  Leonard 
and  Zeila!  Fiancee!  [Sits  and  lolls  back  smiling  ma- 
lignantly and  muttering  inaudibly.] 

SYLVIA 

[Leans  forward  looking  at  him  very  intently:  her 
voice  trembles.]     Who  is  Mrs.  Verona? 

SAXON 

A  very  beautful,  extremely  cultured — demi-mondaine. 

SYLVIA 

[Starts  back  as  tho'  she  had  been  struck:  her  hands 
press  her  cheeks:  she  gives  a,  faint  cry.]     Oh-h! 

[140] 


Act  II:    ADOLESCENCE 

SAXON 

An'  he  told  ye  he  was  engaged  to  her? 

SYLVIA 

[Faintly. 1     Yes. 

SAXON 

[Starts  bolt  upright  as  a  new  thought  comes  to  him.] 
There  may  be  something  in  it!  [The  idea  becomes 
clearer.]  She  may  have  landed  him.  [Jumps  up.]  Then 
the  fat  would  sizzle  on  the  gridiron.  [Practically  con- 
vinced that  his  supposition  is  true.]     That  alters  things. 

SYLVIA 

What  does  it  alter? 

SAXON 

I  don't  like  talkin'  about  it  to  you.  ...  I  really  came 
to  see  your  husband — or  Leonard. 

SYLVIA 

They're  not  here.     I  am.     Tell  me. 

SAXON 

[Shivers.]     Booh!     It's  a  nasty  thing  to  stir  up. 

SYLVIA 

Never  mind  that.     I  am  his  mother. 

SAXON 

That's  what  makes  it  so  particularly  obnoxious. 

SYLVIA 

[Insistently.]     Tell  me. 

SAXON 

All  right,  Sylvia,  old  friend.    Ye've  got  to  know  some 
time.     Here  goes.     The  lady  who  went  to  the  theatre 
[141] 


THE  HARP  OF  LIFE 

last  night  with  your  boy  and  whom  you  describe  as  his 
fiancee  is,  at  the  moment,  living  under  the  protection  of 
my  son,  an'  I'm  payin'  the  bills. 

[Sylvia  shrivels  down  into  the  chair:  her  hand  goes 
to  her  mouth  to  stifle  an  ejaculation  of  horror.\ 

That's  why  I  had  the  impertinent  curiosity  to  follow 
'em  to  the  theatre.  .  .  .  It's  also  the  reason  why  I 
tramped  over  here  this  mornin'  hopin'  to  find  Marshall 
in.  .  .  .  It  looked  at  the  first  "take-off"  like  a  case  of 
innocent  poachin'.  That  might  be  nipped  in  time.  No 
harm  done.  But  if  he  wants  to  marry  the  lady!  .  .  . 
That's  quite  another  pair  o'  shoes.  .  .  .  An'  a  pretty 
dam  bad  fit.     Someone's  goin'  to  get  hurt. 

[Sylvia  beats  one  hand  helplessly  against  the  other. 
She  tries  to  speak  but  no  articulate  sound  comes.'} 

It'll  be  a  knock-out  for  Ormonde.  Square  on  the  jaw. 
.  .  .  Fancy  Zeila  thinkin'  of  marryin'  again!  And  a 
boy! 

SYLVIA 

[Staring  into  space.}     She's  that  kind  of  woman ! 

SAXON 

[Nods.}  She  is.  There  must  be  that  kind  in  this 
highly  civilized  era  we're  livin'  in.  .  .  .  They're  a  neces- 
sary part  o'  the  wheel.  No  use  blinkin'  at  it.  There 
they  are.  .  .  .  Fancy  Leonard  meetin'  her !  That's  what 
knocks  me.  .  .  .  He  must  ha'  made  some  choice  pals. 
.  .  .  Little  world:  little  city:  little  life — the  gay  one. 
.  .  .  They  move  round  in  a  mouse-trap.  .  .  .  All  black- 
guards meet  sometime,  somewhere.  .  .  .  Poor  little  Leon- 
ard. 

[142] 


Act  II:    ADOLESCENCE 

SYLVIA 

He  shall  not  marry  that  kind. 

SAXON 

It  'ud  be  a  shame.  .  .  .  All  the  world  to  choose  from 
an'  he  picks  Zeila!  Takes  me  back  to  my  salad-days— 
and  Pinkie.      [Shudders.] 

SYLVIA 

Leonard  said  she'd  been  married. 

SAXON 

Oh,  yes.  She  was.  For  a  while.  Years  ago.  ...  I 
saw  Vorona  at  supper  afterwards,  dancin'  between 
mouth fuls.  .  .  .  Delightful  fellow.  .  .  .  Worshipped 
her.  .  .  .  Poor  little  beast. 

SYLVIA 

Did  she  divorce  him?     [Waits:  fearing  the  answer.] 

SAXON 

[Slowly.]  No.  ...  He  divorced  her.  .  .  .  An*  I 
paid  the  costs  and  damages. 

SYLVIA 

Your  son? 

SAXON 

Yes.  .  .  .  Ormonde's  buyin'  experience  an*  I'm  payin' 
for  it.  .  .  .  Tough  on  Vorona,  too.  He'd  pulled  her  up 
out  o'  the  trough. 

SYLVIA 

There  were  others? 

SAXON 


Others?  ...  A  string  of  'em. 
[143] 


THE  HARP  OF  LIFE 

SYLVIA 

Oh,  it's  filthy !  Filthy !  Filthy !  To  think  of  Leonard 
being  mixed  up  with  them. 

SAXON 

I  wouldn't  blame  him  just  yet.  I'll  lay  a  hundred 
he  doesn't  know  much  about  her. 

SYLVIA 

[Eagerly.]  I'm  sure  of  that.  He  defended  her  to 
me.  Praised  her.  [Remembering.]  Yet  he  told  me  of 
her  divorce. 

SAXON 

All  of  it? 

SYLVIA 

No.     Just  that  she  was  divorced  and  had  suffered. 

SAXON 

I  know.  .  .  .  Some  women  have  a  way  of  tellin* 
things — makes  'em  seem  white  as  snow.  Especially  if 
the  youngster  doesn't  know  much.  From  our  discussion 
yesterday,  I  gathered  Leonard's  in  that  class. 

SYLVIA 

He  knows  nothing!  Nothing!  Marshall  wouldn't 
tell  him !    He  wouldn't  tell  him ! 

SAXON 

There  ye  are.  First  time  he's  foot-loose  up  on  the 
rocks  he  goes. 

SYLVIA 

Time  and  time  again  I  begged  my  husband  to  warn 
him.     I  wanted  Leonard  to  go  into  the  world  knowing 

[144] 


Act  II:    ADOLESCENCE 

how  to  fight  it.  The  world!  The  filthy  little  world  my 
boy's  been  caught  in.  The  world  of  pleasure !  And  what 
kind  of  pleasure?  Their  one  aim — degradation.  I 
wanted  him  to  know  how  that  pleasure  is  paid  for !  The 
toll  paid  in  disease,  enfeebled  intellects — and  what 
follows.  A  race  of  wistful,  unhealthy,  young-old  chil- 
dren. They  are  the  spawn  pleasure  gives  to  life.  .  .  . 
It  was  his  duty  to  warn  him.  ...  I  wish  I*d  done  it. 
.  .  .  All  parents  should.  .  .  .  They  have  no  right  to 
shelter  themselves  behind  a  veneer  of  mock-modesty  as 
Marshall  has.  .  .  .  He  shall  not  marry  her.  .  .  .  He 
can't  marry  her.  [Goes  on  talking  vehemently  to  her- 
self.] 

SAXON 

It  'ud  be  a  pity.  That  kind  o'  tie-up  seldom  turns  out 
a  winner.  .  .  .  I've  seen  some  rub  along  a  year  or  two. 
That's  about  the  limit.  Then  one  of  'em  snaps  it  like  a 
bit  o'  tape.  .  .  .  [Muses.]  That  kind  o'  woman  can't 
stick.  Reformed  mistresses  don't  always  make  the  best 
wives.  Still  Zeila's — a  pretty  good  sort.  Been  straight 
as  a  string  with  Ormonde — so  far  as  we  know — till  this 
thing  came  along.  .  .  .  She's  a  bit  frightened  o'  Or- 
monde. He  doesn't  let  anyone  play  the  fool.  He'll 
quarrel  from  the  drop  o'  the  hat.  Got  a  lot  of  his  old 
dad  in  him — as  well  as  Pinkie.  ...  I  flung  her  out  when 
I  found  her  takin'  the  bit  in  her  teeth.  ...  So  would 
Ormonde.  They  had  a  tiff  a  while  ago  so  he's  off  to 
Norway  to  cool  down.  .  .  .  They've  had  'em  before  and 
always  come  together  again.  This  looks  more  serious. 
She  must  have  meant  it  this  time.  .  .  .  When  I  saw  her 
[145] 


THE  HARP  OF  LIFE 

come  into  the  dinin'-room  last  night  with  Leonard  d'ye 
know  I  was  rattled  for  a  minute.     Really  rattled. 

SYLVIA 

Did  Leonard  see  you? 

SAXON 

[Laughs  gratingly.  ]  Yes,  poor  lad.  I  spared  his 
blushes  by  readin'  a  paper  when  I  wasn't  eatin'.  .  .  . 
When  the  opera  was  over  I  walked  out  behind  'em.  Pure 
accident.  .  .  .  They  got  into  her  car — Ormonde* s  car — 
my  car — and  the  order  was  "home".  ...  I  brooded  it 
out  into  the  wee  sma'  hours  an'  made  up  my  mind  I'd 
sit  into  the  game.  .  .  .  Ormonde  has  a  villainous  temper. 
Stops  at  nothin'  after  a  few  drinks.  .  .  .  Loves  to  smash 
things — and  people.  We'd  all  land  in  a  police-court  if 
he  caught  'em.  .  .  .  Nasty  business. 

SYLVIA 

He  shall  not  marry  her.     He  shall  not.     No. 

SAXON 

Why  not  send  him  away?  Better  still — take  him? 
.  .  .  Ha!  I  wanted  Marshall  to  let  him  go  with  Or- 
monde to  Norway.  Wouldn't  hear  of  it.  .  .  .  Seemed 
to  think  Ormonde  'ud  corrupt  him.  .  .  .  Ha!     Corrupt 

him !    Mr.  Leonard's  certainly  fooled  us  all Take 

him  away.  That's  best.  .  .  .  When  Ormonde  gets  back 
an'  they've  made  it  up,  Leonard  won't  get  a  chance  to 
see  her.  Ormonde's  as  jealous  as  a  prize-pup.  .  .  . 
Shouldn't  wonder  if  he  married  her  himself  some  time. 
.  .  .  That's  the  ticket.     Pack  him  off. 

[146] 


Act  II:    ADOLESCENCE 

SYLVIA 

No.  It's  got  to  be  broken.  Broken  completely.  .  .  . 
He  must  know  her  as  she  is. 

SAXON 

That's  good,  too.  .  .  .  Strip  her  to  the  bone.  Make 
him  cut  and  run. 

SYLVIA 

[Suddenly  remembering.]  His  father's  going  there 
to-day. 

SAXON 

[Astonished.]     Where? 

SYLVIA 

To  call  on  her.  .  .  .  He'll  do  the  one  thing  to  drive 
them  into  each  other's  arms.  ...  I  must  see  her  first. 
Take  me  to  her.     Now.     [Excitedly.] 

SAXON 

Ye're  right.  .  .  .  Marshall's  hot-headed — an'  she's 
very  tenacious.     An*  a  good  fighter. 

SYLVIA 

She  may  listen  to  me. 

SAXON 

Anyone  would. 

SYLVIA 

I'll  get  my  hat.     [Hurries  out.] 

SAXON 

I'll  look  out  a  train.  [Taking  out  time-table  and  study- 
ing it.] 

[Sylvia  comes  back  quickly  with  hat  and  gloves.    She 
[147] 


THE  HARP  OF  LIFE 

is  now  at  great  tension.     Tears  are  welling  up  in 
her  eyes.'] 

SAXON 

There's  one  at   12.15.     Plenty  of  time. 

[As  he  looks  at  her  for  the  first  time  he  grasps  some- 
thing of  what  she  is  suffering:  he  speaks  to  her 
gently  and  pityingly.] 

I'm  sorry  to  have  come  on  such  an  errand,  Sylvia. 
To  you. 

SYLVIA 

[Wistfully.]  We  were  too  happy.  .  .  .  Something 
had  to  happen. 

SAXON 

You'll  get  him  back. 

SYLVIA 

[Her  voice  breaking.]      If  I — don't? 

SAXON 

That's  unthinkable. 

SYLVIA 

Oh,  Godfrey,  Godfrey,  what  a  world  you  men  make 
of  it! 

SAXON 

Don't  we?  .  .  .  Woman  helps  a  bit,  tho\ 

SYLVIA 

If  only  Marshall  had  told  him! 

SAXON 

[Nods.]  Best  time  to  do  it  is  when  you  give  'em  their 
first  latch-key.  It  opens  more  than  the  front  door.  .  .  . 
Innocence  puts  a  ridiculous  value  on  the  charm  of  vice. 
.  .  .  It's  all  so  new:  so  glitter-y:  so  dam  nice-an'-easy. 

[148] 


Act  II:    ADOLESCENCE 

.  .  .  If   they   knew   what   was    waitin'    for    'em   there 
mightn't  be  so  many  converts  to  the  broad  road. 

SYLVIA 

Why  didn't  you  teach  your  son  that? 

SAXON 

I  did.  But  there's  too  much  of  me  in  him.  They  didn't 
have  to  drag  him  in.    He  jumped. 

SYLVIA 

Leonard  has  too  much  of  me  to  be — dragged  in. 

SAXON 

I'm  sure  of  it.  .  .  .  Still  he's  done  pretty  well — for 
a  beginner.  Picked  the  queen  o'  the  lot.  .  .  .  Too  nice 
a  lad  to  join  that  ghastly  procession.  .  .  .  Look  back  ten 
years  on  the  pleasure-seekers  of  a  big  city,  an'  what 
d'ye  see?  Blasted  reputations:  careers  halted  midway: 
hard-faced  elderly  men  an'  thin-haired,  blotchy,  battered 
young  'uns.  Not  a  sensation  left.  No  joy  in  the  present 
an'  no  hope  for  the  future.  ...  So  they  go  where  the 
lights  glare  an'  the  bands  shriek  an'  everybody  shouts 
so  loud  they  can't  have  time  to  think.  ...  I  sit  in  my 
little  corner  an'  watch  'em.  .  .  .  The  Blackguards  Pro- 
gress. 

SYLVIA 

Take  me  to  her. 

SAXON 

Right.     [Pic A:*  up  his  hat  and  knotted-stick.'] 

SYLVIA 

Will  she  give  him  up? 

[149] 


THE  HARP  OF  LIFE 

SAXON 

I  think  not.  ...  If  she's  really  gone  on  Leonard 
she'll  fight  for  him.  .  .  .  She'll  fight  all  right — if  she 
loves  him. 

SYLVIA 

I  love  him.     I'll  fight  for  him.  .  .  .  Take  me  to  her. 

SAXON 

Hadn't  I  better  phone?  It  'ud  save  a  journey  for 
nothin'  if  she's  not  in.     Shall  I? 

SYLVIA 

[Distractedly.']  Yes,  but  hurry.  I  want  to  be  mov- 
ing.    Doing  something. 

[She  watches  him  go  to  the  telephone  and  take  off 
the  receiver,  her  face  drawn,  her  breathing  rapid.] 

SAXON 

[Speaking  into  the  receiver.]  Hello !  Hello !  Are 
you  there?  Ah!  Give  me  721  Cory,  will  ye?  Yes, 
721.  Thank  ye  very  much.  [Hums  softly  as  he  waits.] 
Hello!  Eh?  You  721  Cory?  .  .  .  You  are?  ...  Is 
Mrs.  Vorona  in  ?  .  .  .7*  she  ?  Oh.  Will  you  be  so  good 
as  to  tell  her  Mr.  Saxon  'ud  like  to  speak  to  her?  If  it's 
not  troublin'  her  too  much.  .  .  .  Saxon.  .  .  .  The  old 
'un.  Yes.  .  .  .  No.  His  father!  That's  it.  I'll  hold 
on.  [Looks  up  at  Sylvia  and  nods.]  She's  in.  [Looks 
at  his  watch.]  What  time  is  it  ?  I'm  stopped.  [Sylvia 
shows  him  her  wrist  watch.]  We're  all  right.  Ah! 
[Into  receiver.]  Hello!  Is  that  Zeila?  That  you? 
How  are  ye?  .  .  .  Yes  it's  me — Godfrey.  .  .  .  The  ol' 
mountebank!   [Laughs.]     Never  better.  .  .  .  You  sound 

[150] 


Act  II:    ADOLESCENCE 

splendid.  But  ye  always  are,  aren't  ye?  .  .  .  Eh?  .  .  . 
In  the  country,  walkin'  about.  .  .  .  Yes.  .  .  .  I'm  goin'  in 
by  the  12.15  an'  I  thought  o'  runnin'  in  on  ye.  What 
d'ye  say?  .  .  .  Now  that's  very  sweet  an'  dear  of  you. 
[Sylvia  takes  the  receiver  from  him  and  listens  to  the 
voice  from  the  other  end,  at  the  same  time  motioning 
him  to  go  on  talking  into  the  telephone.']  What  are  you 
doin'  this  fine  day? 

[Sylvia  listens  to  the  reply  then  hands  the  receiver 
back  to  him.     She  goes  to  the  table  and  takes  up 
the  album  of  her  son's  photographs  and  looks  at 
them.    She  closes  the  album  and  goes  over  and  looks 
up   at   the  painting   of  him  hanging   on   the  •wall. 
Saxon  meanwhile  has  resumed  talking  into  the  re- 
ceiver.] 
I  didn't  hear  a  word  ye  said.     Someone  must  ha'  cut 
in.  .  .  .  What?  ...  I  see.  ...  Eh?     Oh  just  for  the 
aesthetic  pleasure  o'  lookin'  at  ye  an'  listenin'  to  ye.  .  .  . 
All  right.  .  .  .  I'll  ha'  lunch  in  town  an'  look  in  about 
three.  .  .  .  Thank  ye.     Very  sweet  an'  charmin'  o'  ye. 
But   ye're   always    sweet   an'    charmin',    ain't   ye?  .  .  . 
Good-bye.     Much  obliged.  .  .  .  Good-bye!     [Hangs  up 
the  receiver.    Takes  a  long  breath:  looks  at  Sylvia;  rises 
and  goes  to  her.    She  is  still  looking  at  Leonard's  pic- 
ture as  a  little  boy.    He  puts  his  hands  on  her  shoulders 
and  turns  her  around:  there  are  tears  in  her  eyes.     She 
chokes  back  a  sob.]     No  tears,  Sylvia.    She  hates  'em. 

SYLVIA 

[Shakes  her  head.]     No.     No  tears. 
[151] 


THE  HARP  OF  LIFE 

SAXON 

Of  course  not.  [Takes  the  handkerchief  from  her 
hand  and  tenderly  wipes  her  eyes.] 

SYLVIA 

[Brokenly,  pointing  to  the  picture.]  I  can't  realize 
he's  a  man.  I  can  only  see  my  little  boy  with  his  long 
yellow  curls. 

SAXON 

[Hands  back  the  handkerchief.']  Remember,  Sylvia. 
No  tears. 

SYLVIA 

[Crying  bitterly.']     No,  Godfrey.     No — tears. 
[They  start  to  go  out.] 

It  isn't  all — fun — being — a — mother,  Godfrey,  is  it? 
[As  they  disappear  the  curtain  falls.] 
[End  of  Act  2.] 


[152] 


Act  III:     MANHOOD 

The  drawing -room  of  Mrs.  Vorona's  residence.  A  spa- 
cious, handsome  room  decorated  in  white  and  gold. 
A  large,  purple  flower-bowl  hangs  prominently  from 
the  ceiling.  An  imposing  purple  screen  is  noticeable 
near  a  grand-piano  on  which  is  a  purple  photo-frame 
with  Leonard's  photograph  looking  out  from  it. 

There  are  two  doors.  One  at  back  connecting  with  the 
landing,  the  second  to  right  leading  to  Mrs.  Vorona's 
boudoir. 

The  room  is  on  the  first-floor  and  with  the  open  win- 
dows can  be  seen  the  trees  fronting  the  house. 

The  door  to  right  is  slightly  open.  From  within 
comes  the  delightful  sound  of  a  harp  on  which  is  be- 
ing played,  quite  exquisitely,  "Adorable  Tourments". 

After  a  few  seconds  the  door  at  back  opens  and  Godfrey 
Saxon  peeps  in.  Seeing  that  no  one  is  in  the  room  he 
comes  in  quietly,  closes  the  door  and  listens  to  the 
music.  He  smiles  grimly  and  goes  to  the  piano,  think- 
ing, his  brows  knit  perplexedly.  He  halts  at  the  sight 
of  the  purple  frame  with  Leonard's  photograph  beam- 
ing at  him.  He  takes  it  in  his  hand  and  looks  at  it, 
replaces  it,  meditates,  apparently  decides  on  his  course 
[153] 


THE  HARP  OF  LIFE 

of  action,  goes  over  to  the  door  leading  to  the  boudoir 
and  taps  several  times,  between  the  bars  of  the  music. 

MRS.    VORONA 

[Calling  cheerfully  from  inside  the  room.]      Come  in. 
[The  playing  on  the  harp  continues.'] 

SAXON 

[Speaking  during  a  bar's  rest  in  the  music]     May  I? 

MRS.    VORONA 

[Laughing.]      Oh!     It's  you.     Wait  there. 

[The  music  stops.] 

[Saxon  walks  around  the  room  humming  the  refrain 
of  "Adorable  Tourments."] 

[Mrs.  Vorona  comes  in  from  her  boudoir.  She  is  an 
extremely  handsome,  distinguished-looking  woman 
of  perhaps  twenty-four,  though  the  exigencies  of  a 
somewhat  chequered  career  have  given  her  the  man- 
ner and  bearing  of  one  in  the  early  thirties.  She  is 
in  buoyant  high  spirits.] 

MRS.    VORONA 

Hello,  little  man. 

[Goes  straight  to  him  and  holds  out  her  hand.] 

SAXON 

[Striking  an  exaggerated  attitude  of  admiration,  ejac- 
ulates.]     Superb! 

MRS.    VORONA 

Like  it? 

[Moving  so  that  he  can  admire  the  dress  from  all  an- 
gles.] 

[154] 


Act  III:    MANHOOD 

SAXON 

Like  it !  Oh !  [Presses  his  heart  as  though  in  ec- 
stasy and  kisses  the  tips  of  his  fingers  with  a  flourish.] 
The  last  word! 

MRS.    VORONA 

I'm  glad.     You  paid  for  it. 

SAXON 

Whatever  the  cost  it  was  too  little.  [Raises  her  hand 
towards  his  lips  and  kisses  the  air  an  inch  from  her  fin- 
gers.] You  do  yer  modiste  credit.  She's  worthy  of  a 
big  order.  I  give  ye  carte  blanche.  I  feel  generous 
this  marvellous  day. 

MRS.    VORONA 

[Shakes  her  head  laughingly.]  No,  Godfrey.  No 
more.  When  you  pay  the  bill  for  this  you  may  write 
"finis"  after  it.  .  .  .  I'm  not  going  to  stick  you  any 
longer.  .  .  .  Sit  down  and  rest  your  little  self.  Smoke 
if  you  like. 

[Takes  a  cigarette  and  lights  it.] 

SAXON 

[Sits  nervously.]     Dear  of  ye  to  let  me  call. 
[Watches  her  anxiously.] 

MRS.    VORONA 

Not  a  bit.     I  was  going  to  send  for  you  if  you  hadn't. 

SAXON 

Were  ye? 

MRS.    VORONA 

[Laughs.]     Yes.     But  I  thought  you'd  be  round. 
[155] 


THE  HARP  OF  LIFE 

SAXON 

[Uncomfortably.']     Did  ye  really? 

MRS.    VORONA 

Rather.  .  .  .  When  I  saw  you  last  night  hiding  be- 
hind a  newspaper  and  a  pile  of  dishes  I  knew  you'd 
be  sitting  in  this  room  within  twenty-four  hours.  And 
there  you  are. 

SAXON 

[Feebly.']     Yes.     Here  I  am. 

MRS.    VORONA 

You  did  look  funny  pretending  not  to  see  me. 
[Laughs.] 

SAXON 

[Laughing  too,  though  without  mirth.]  I  suppose 
I  must  have. 

MRS.    VORONA 

Why  didn't  you  join  us? 

SAXON 

Oh,  I  don't  know.  Ye  were  enjoyin'  yer  food  with- 
out me. 

MRS.    VORONA 

And  you  could  have  come  into  our  box  instead  of 
sitting  just  beneath. 

SAXON 

[Quite  uncomfortable.]  What  an  ass  I  was  not  to 
think  of  it. 

MRS.    VORONA 

And  I'd  have  dropped  you  home  if  you'd  come  in 
the  motor. 

[156] 


Act  III:    MANHOOD 

SAXON 

[With  a  sickly  smile.]     What  a  lot  I  missed. 

MRS.    VORONA 

[Looking  at  him  whimsically.]     Godfrey!     You're  a 
foxy  little  man,  but  you're  a  shocking  detective. 

SAXON 

Don't  kick  me  when  ye've  got  me  down. 
[Laughing  feebly.] 

MRS.    VORONA 

Come  straight  over  and  speak  next  time.     Don't  spy. 
I  don't  like  it.      [Sharply.]     See? 

SAXON 

[Faintly.]     All  right,  Zeila. 

[Goes  across,  aimlessly  apparently,  to  the  piano  and 
stands  looking  at  Leonard's  photograph.] 

MRS.    VORONA 

[Loudly.]     Well? 

8AXON 

[Starts;  picks  up  the  photo-frame.]     Nice  little  kid. 

MRS.    VORONA 

[Insolently.]      Isn't  he? 

SAXON 

Ormonde's  mug  used  to  be  in  this. 
[Holding  up  the  photo-frame.] 

MRS.    VORONA 

It  isn't  going  to  be  any  more. 
[157] 


THE  HARP  OF  LIFE 

SAXON 

[Replacing  the  frame  on  the  piano.']      Ain't  it? 

MRS.    VORONA 

[Shakes  her  head.]     No. 

SAXON 

Chucked  him  in  the  discard? 

MRS.    VORONA 

Yes.     And  about  time,  too. 

SAXON 

Oh,  I  don't  know. 

MRS.    VORONA 

[Sneeringly.]      I  shouldn't  think  you'd  mind. 

SAXON 

I  don't  know  about  that,  either.  .  .  .  Take  the  rough 
with  the  smooth,  I  think  ye've  had  a  pretty  good  influ- 
ence on  him. 

MRS.    VORONA 

[In  derision.]     Good  influence!     On  him! 

SAXON 

Ye  had,  Zeila.     We're  mostly   what  women  make 
us.     Ain't  we? 

MRS.    VORONA 

I'd  take  precious  little  pride  in  the  making  of  Or- 
monde. 

SAXON 

Yet  ye  had  some — once. 

MRS.    VORONA 

He  soon  changed  that. 

[158] 


Act  III:    MANHOOD 

SAXON 

Ye've  quarreled.  .  .  .  Ain't  ye? 

MRS.    VORONA 

No  more  than  usual. 

SAXON 

Hasn't  he  treated  ye  right? 

MRS.    VORONA 

He's  paid  my  bills — with  your  money.  That's  about 
as  right  as  he  could  treat  anyone.  [Suddenly  she 
cries  out  vehemently.']     Drop  him.     I  have. 

SAXON 

[Sitting  beside  her.]  What's  the  sudden  "right- 
about" mean,  Zeila? 

MRS.    VORONA 

I'm  sick  of  him.     And  this.  .  .  . 

SAXON 

[He  is  now  quite  dejected.]      That  so? 

MRS.    VORONA 

It  is.  .  .  .  Don't  look  so  worried. 

SAXON 

I  can't  help  it.  I  am  worried  ...  I'm  pretty  fond 
o'  Ormonde  in  me  rough,  dam-silly  way.  .  .  .  Suppose 
I  oughtn't  to  be — but  I  am.  I  hate  to  see  ye  take  the 
bit  in  yer  pretty  little  teeth  an'  ride  rough-shod  over 
him.     It  ain't  friendly. 

MRS.    VORONA 

He'll  find  someone  else. 

[159] 


THE  HARP  OF  LIFE 

SAXON 

I  see  you  have. 

MRS.    VORONA 

I  have. 

SAXON 

How  long  do  ye  think  it'll  last? 

MRS.    VORONA 

Just  so  long  as  I  can  hold  him.  .  .  .  Now  I'm  going 
to  give  you  a  really  good  laugh.  .  .  .  Godfrey,  for  the 
first  time  I  find  myself  loved — and  for  the  last  time 
I'm  in  love!  .  .  .  Well?  Why  don't  you  laugh?  .  .  . 
Isn't  it  screamingly  funny  that  J  should  find  anyone — 
now — to  love  me?  Isn't  it  still  more  amusing  that  / 
should  catch  it?  .  .  .  Go  on.  Croak  out  the  disagree- 
able, unbelieving,  sneering  little  noise  you  make  for  a 
laugh. 

SAXON 

I    don'    feel   like   it,   Zeila.  ...  I'm   thinkin' 

MRS.    VORONA 

What? 

SAXON 

— that  it  does  ye  a  great  deal  of  credit. 

MRS.    VORONA 

I  knew  you'd  sneer. 

SAXON 

I  mean  it.  .  .  .  Sort  o'  reincarnation.  ...  A  ro- 
mance in  purple.  .  .  .  Ain't  he  rather  young? 

MRS.    VORONA 

Well?     I'm  not  old. 

[160] 


Act  III:    MANHOOD 

SAXON 

No.  Of  course  ye  ain't.  .  .  .  Nice  kid.  Nice  an*  in- 
nocent. 

MRS.    VORONA 

He  didn't  have  you  to  show  him  around.  Or  Or- 
monde. 

SAXON 

He's  got  you  now. 

MRS.    VORONA 

[Angrily.']     Stop  that. 

SAXON 

[Humbly.]  Beg  yer  pardon.  .  .  .  Have  ye  weighed 
it  well? 

MRS.    VORONA 

Don't  talk  about  love  as  though  it  were  butter.  .  .  . 
Weighed  it!  .  .  .  I'm  leaving  here  to-morrow. 

SAXON 

[Aghast.]     Are  ye? 

MRS.    VORONA 

I've  taken  a  flat  and  a  chaperone.  .  .  .  I'll  leave  the 
keys  of  the  house  with  the  agents.  Everything  else 
with  your  lawyer — or  you.     I   don't  care  which. 

SAXON 

Goin'  to  walk  out  o'  this  nice  place? 

MRS.    VORONA 

I  am. 

SAXON 

[Looking  around.]  Leave  all  the  pretty  things? 
Purple — an'  everything? 

[161] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

Yes. 

SAXON 

Leave  poor  old  Ormonde,  too? 

MRS.    VORONA 

I've  done  that. 

SAXON 

[Seriously. ]  It  won't  be  so  easy,  Zeila.  He  cares  for 
ye — cares  for  ye  a  whole  lot.  He  stops  at  nothin'  when 
he's  crossed.  I  can't  control  him.  We  don't  want  our 
names  in  the  "noos"-sheets,  do  we? 

MRS.    VORONA 

I  want  mine.  And  I'm  going  to  have  it.  Among  the 
"marriages." 

SAXON 

[Coaxingly."]  Zeila,  old  girl,  don't  burn  every  thin' 
up.  Take  a  day  or  two.  Set  your  little  brain  a-workin'. 
.  .  .  Send  Mr.  Leonard  back  to  his  paint-brush,  an'  his 
family.  .  .  .  [Waits:  she  says  nothing.]  By  an'  bye — 
who  knows  ? — Ormonde'll  feel  the  cravin'  to  settle  down 
an'  have  a  real  home  of  his  own.  An'  there  ye  are. 
.  .  .  I'll  give  ye  a  beauty.  Better'n  this.  .  .  .  An'  a 
country-place,  too.  Horses  an'  dogs  an'  poultry  an' 
cows.  I'll  watch  ye  milk  'em.  [Watches  her  plain- 
tively as  he  makes  his  poor,  little  weak  joke.]  Don' 
give  Ormonde  the  "go-by,"  Zeila. 

MRS.    VORONA 

Do  you  really  mean  you'd  like  Ormonde  to  marry  me? 
[162] 


Act  III:    MANHOOD 

SAXON 

I  do.  Ye  know  how  to  manage  him.  Get  a  firm  hand 
on  the  bearin'-rein.  .  .  .  An'  ye've  got  the  same  tastes 
an'  the  same  friends.  What  if  ye  have  made  a  slip  or 
two?  So's  he.  Make  a  sight  better  match  for  ye  than 
the  kid. 

MRS.    VORONA 

[Very  quietly. ~\  You're  an  awfully  decent  sort,  God- 
frey. 

SAXON 

No,  I  ain't.  Hard  as  nails,  really.  .  .  .  All  this  is 
pure  selfishness.  I  would  like  to  see  Ormonde  properly 
fixed  before  I  take  the  long  count. 

MRS.    VORONA 

[Shaking  her  head.]  Too  late.  .  .  .  It's  the  truth, 
Godfrey.  I  am  in  love.  Just  like  a  girl.  And  it's 
wonderful!  I  tell  you  it's  wonderful  to  wake  thinking 
of  someone  and  to  know  he's  thinking  of  me.  ...  To 
look  forward  to  his  coming  instead  of  dreading  it.  .  .  . 
That's  the  way  it  was  with  Ormonde.  .  .  .  Leonard  and 
I  are  going  to  start  fair. 

SAXON 

Can  ye? 

MRS.    VORONA 

[Angrily.]     Yes,  we  can. 

SAXON 

[Quieting  her.]     All  right.  .  .  .  Will  ye  give  me  one 
little  mite  o'  consolation?  ...  If  anythin'  trips  up  will 
ye    give    Ormonde    another    show?  .  .  .  Will    ye?  .  .  . 
[163] 


THE  HARP  OF  LITE 

It   ain't  much   to  ask.     An'   it  'ud   give  me  a   sort  o' 
sportin'  chance. 

MRS.    VORONA 

There's  no  chance. 

SAXON 

I  like  the  "outsiders."  Ye  always  get  a  good  price 
against  'em.  .  .  .  Won't  ye?  .  .  .  No?  .  .  .  All  right, 
Zeila.  [Bending  suddenly  over  her;  entire  change  of 
tone.]     What  about  the  lad's  people? 

MRS.    VORONA 

He  hasn't  told  them  yet. 

SAXON 

Yes,  he  has.  This  mornin'.  I  just  remembered. 
His  mother'll  be  here  presently. 

MRS.    VORONA 

Will  she? 

SAXON 

She's  almost  due.  I  came  on  ahead  to  pave  the  way. 
[Ruefully.]      Fine  bit  o'  pavin'  I've  done,  haven't  I? 

MRS.    VORONA 

[With  rising  suspicion  and  anger.]  Did  you  bring 
her  here? 

SAXON 

In  a  sort  o'  way. 

MRS.    VORONA 

That's  like  you!  [Looking  at  him,  contemptuously.] 
Have  you  told  her  about  me? 

SAXON 

A  bit. 

[164] 


Act  III:    MANHOOD 

MRS.    VORONA 

[Derisively.']  Your  "bit"!  She  knows  everything, 
then? 

SAXON 

J  don't  pretend  to  know  that,  Zeila. 

MRS.    VORONA 

[Furiously.]  Oh!  What  a  dirty  thing  to  do!  To 
bring  her  here.  Here!  .  .  .  What  sort  of  person  is 
she? 

SAXON 

Hasn't  Leonard  told  ye? 

MRS.    VORONA 

No.     What  is   she  like? 

SAXON 

She's  a  very  good  woman,  Zeila. 

MRS.    VORONA 

She  must  be  to  have  such  a  son.  Prim  and  proper, 
I  suppose? 

SAXON 

Well,  o*  course  .  .  . 

MRS.    VORONA 

Goes  to  church,  dresses  in  black,  wears  hideous  hats, 
and  cries  and  prays  on  the  slightest  provocation,  eh? 

8AXON 

[Quietly,  with  malicious  delight.]  It  might  be  a 
portrait. 

MRS.    VORONA 

That  kind  will  have  no  use  for  me. 
[165] 


THE  HARP  OF  LIFE 

SAXON 

She's  wrapped  up  in  Leonard. 

MRS.    VORONA 

Then  I've  got  to  unwrap  her. 

SAXON 

Don't  be  hard  on  her.  .  .  .  We're  old  friends.  .  .  . 
It's  for  her  sake  I'm  here.  .  .  .  I'm  sorry  if  I've  said 
anything  to  upset  ye.  .  .  .  But,  ye  see,  when  I  heard 
about  Leonard  I  just  "saw  red"  and  let  out  the  box-o'- 
tricks.     Sorry,  Zeila. 

MRS.    VORONA 

[Trying  to  compose  her  thoughts.']      Oh,  keep  quiet. 

SAXON 

I've  lived  too  long:  that's  what's  the  matter  with  me. 
[Walking  to  window  and  looking  out.]  Dam  good 
riddance  when  I  drop  out.  What  a  mucky  thing  the 
whole  game  is.  [Suddenly.]  Here  she  is !  Gettin' 
out  o'  the  taxi  now!  Let  me  bring  her  up  .  .  .  better 
than  the  servants. 

MRS.    VORONA 

All  right. 

SAXON 

Don't  be  rough  on  her,  old  girl.  She's — she's  salt  o' 
the  earth.  [Hurries  out.  Mrs.  Vorona  stands  think- 
ing a  moment,  then  goes  over  to  piano,  takes  up  mirror 
and  looks  at  herself.  Then  goes  quickly  into  room.  In 
a  few  seconds  Sylvia  enters  with  Saxon.]  Shall  I 
wait  for  you? 

SYLVIA 

No. 

[166] 


Act  III:    MANHOOD 

SAXON 

Good  luck,  Sylvia. 

[Watches  her  into  the  room;  goes  out,  closing  the 
door.] 

[Sylvia  looks  around  the  room.  The  general  colour 
scheme  arrests  her  attention  first;  then,  as  she  real- 
izes where  Leonard  found  the  inspiration,  she 
looks  at  the  bowl  and  the  screen,  and  lastly  at  the 
frame  containing  his  photograph  on  the  piano. \ 

[Mrs.  Vorona  comes  in.  She  has  taken  advantage 
of  the  few  moments  to  add  some  trifling  adornments. 
She  looks  at  Sylvia  in  absolute  amazement,  de- 
prived of  speech  by  the  contrast  between  the  woman 
before  her  and  the  woman  she  had  expected. 
Sylvia  turns  and  looks  searchingly  at  her.  She, 
too,    is    surprised    at    the    appearance    of    Mrs. 

Vorona.] 

mrs.  vorona 

Are  you  Mrs.  Brooke?     [Incredulously.] 

SYLVIA 

Yes. 

MRS.    VORONA 

Leonard's  mother? 

SYLVIA 

Yes. 

MRS.    VORONA 

But  you're  so  young! 

SYLVIA 

So  is  he. 

MRS.    VORONA 

He  doesn't  think  so.     He  rather  fancies  twenty-three 

is  quite  old. 

[167] 


THE  HARP  OF  LIFE 

SYLVIA 

Did  he  tell  you  he  was  twenty-three? 

MRS.    VORONA 

Yes. 

SYLVIA 

He's  nineteen! 

MRS.    VORONA 

Nineteen? 

SYLVIA 

month  ago. 

MRS.    VORONA 

Fancy  that!  Nineteen!  [Laughs.]  I  thought  he 
was  rather  backward  for  twenty-three.  Nineteen! 
Rather  early  to  think  of  marriage,  isn't  it? 

[She  has  grown  suddenly  nervous  in  the  presence  of 
Sylvia,  whose  steady  look  and  self-possession 
rather  unnerve  her.] 

SYLVIA 

It  is! 

MRS.    VORONA 

Still  he's  asked  me  to  marry  him. 

SYLVIA 

He  told  me. 

MRS.    VORONA 

And  I've  promised  him  that  I  will. 

SYLVIA 

He  told  me  that,  too. 

MRS.    VORONA 

And  you,  naturally,  wanted  to  see  the  woman  he  is 
going  to  marry. 

[168] 


Act  III:    MANHOOD 

SYLVIA 

Yes. 

MRS.    VORONA 

Well.     Here  I  am.     Look  at  me. 

SYLVIA 

I  am  looking  at  you. 

MRS.    VORONA 

Do  you   approve   Leonard's   choice? 

SYLVIA 

No. 

MRS.    VORONA 

That's  a  pity.  .  .  .  What  are  you  going  to  do  about 
it? 

SYLVIA 

Prevent  it,  if  I  can. 

MRS.    VORONA 

How? 

SYLVIA 

I  don't  quite  know. 

MRS.    VORONA 

Try. 

SYLVIA 

I'm  going  to  try. 

MRS.    VORONA 

All  right.  I'll  listen.  .  .  .  Begin.  .  .  .  Give  all  the 
reasons  against  marriage  mothers  have  ever  given  when 
their  sons  have  wanted  to  do  exactly  what  their  fathers 
did  before  them. 

SYLVIA 

I  don't  want  to  talk  to  you  as  a  mother  ...  I  want 
to  speak  to  you  as  a  woman. 

[169] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

You  can't.  .  .  .  We  don't  speak  the  same  language. 

SYLVIA 

We  should.  We  both  love  the  same  boy.  And  be- 
tween my  love  and  yours — if  you  really  love  him — there 
can't  be  such  a  great  difference. 

MRS.    VORONA 

Isn't  there?  .  .  .  That's  where  you're  wrong. 

SYLVIA 

Why  am  I  wrong? 

MRS.    VORONA 

Because  I  love  his  youth,  his  enthusiasm,  his  idealism. 

SYLVIA 

So  do  I.  .  .  .  Only  I  want  him  to  preserve  them. 

MRS.    VORONA 

And  you  don't  think  he  will — with  me  ? 

SYLVIA 

No.  .  .  .  Do  you? 

MRS.    VORONA 

Yes,  I  do. 

SYLVIA 

Do  you?  .  .  .  Honestly? 

MRS.    VORONA 

Yes.  I've  some  idealism  left;  he's  restored  my 
drooping  enthusiasm:  and  I've  still  my  youth.  .  .  . 
[Pleadingly.]  Mrs.  Brooke,  Leonard  has  opened  out 
a  new  life  to  me.  And  what  has  made  it  all  the  more 
wonderful  is  that  it  came  at  a  time  when  the  old  one 

[170] 


Act  III:    MANHOOD 

had   grown   unbearable.      Its   meanness    and   tawdriness 
and  bitterness  were  destroying  me. 

SYLVIA 

I  see.  You  want  to  use  my  boy  to  nourish  your  soul. 
I  would  give  mine  to  feed  his.  If  there's  no  deeper 
note  in  your  love  than  grasping  at  what  he  brings  you 
then  in  such  a  marriage  my  son  would  indeed  be  lost. 

MRS.    VORONA 

Lost?     Why? 

SYLVIA 

Because  if  you  take — take — always  take  and  never 
give,  you  miss  the  one  real  note  of  love.  You  would 
rob  Leonard  of  everything  you  say  you  love  in  him. 
.  .  .  And  when  you'd  tired  of  him  he'd  come  back  to 
me  with  the  qualities  we  both  value  in  him  now — gone. 
And  it  would  benefit  no  one.     Least  of  all — you. 

MRS.    VORONA 

That's  not  true.  ...  I  knew  we  couldn't  think  or 
talk  alike.  .  .  .  What  can  you  know  of  me?  .  .  .  Just 
what  Godfrey  Saxon  told  you.  .  .  .  Godfrey  Saxon! 
...  I  tell  you  I  can  look  at  the  stars  as  well  as  Leon- 
ard, though  my  feet  may  have  been  chained  to  the  earth. 
.  .  .  Don't  think  I  like  this.  ...  I  don't.  ...  I  hate 
it.  ...  I  despise  it.  .  .  .  And  he'll  take  me  out  of 
it.  .  .  . 

SYLVIA 

Can  he? 

MRS.    VORONA 

Why  not?     I  love  beauty  as  well  as  he.     We'll  seek 
it.  .  .  .  Seek  it  together.  .  .  .  I've  planned  it  all.  .  .  . 
[171] 


THE  HARP  OF  LIFE 

The  places  I  saw  for  the  first  time  when  I  was  a  girl 
of  eighteen.  .  .  .  He'll  give  them  a  value  they  didn't 
have  then.  .  .  .  His  love  will  do  that.  .  .  .  It's  all 
here — here  in  my  brain.  ...  It  will  be  wonderful. 

SYLVIA 

How  long  would  it  last? 

MRS.    VORONA 

Why  shouldn't  it  last?  .  .  .  Oh,  it  will  last.  .  .  . 
Have  no  fear.  ...  I  haven't.  .  .  .  We'll  live  for  each 
other. 

SYLVIA 

You  would  be  running  away  from  yourself — your 
other  self.  .  .  .  One  day  it  would  overtake  you. 

MRS.    VORONA 

If  it  did  I'd  crush  it.  .  .  .  Crush  it.  ...  As  I  have 
now.  .  .  .  I've  done  with  that.  Done  with  it.  No 
more.  .  .  .  Never.  .  .  .  No  sitting  in  garish  restau- 
rants, with  their  raucous  din;  hung  with  jewels  as  a 
prize-animal  is  with  ribbons,  and  facing  me  the  sensual 
beast  who  bought  them — and  me.  .  .  .  Ah!  No 
more  of  that.  .  .  .  Done  with!  .  .  .  Finished.  .  .  .  I'll 
dream  all  my  old  dreams  in  the  warmth  and  colour  of 
the  East.  And  I'll  have  a  young,  eager,  hungry  heart 
beside  me,  seeing  beauty  for  the  first  time.  .  .  .  Our 
days  will  be  spent  searching  for  beauty.  .  .  .  And  night 
will  come  as  a  blessing — not  a  curse.  .  .  .  Night !  The 
hideous  time  between  dark  and  dawn  where  such  as  I 
have  been  paying  the  debt  for  our  glimpses  of  beauty  by 
day.  .  .  .  His  love  and  faith  will  renew  my  youth  and 

[172] 


Act  in:    MANHOOD 

give   me  back  something   of   all   I've   lost.  .  .  .  Some- 
thing! 

SYLVIA 

Oh,  my  dear,  my  dear ! 

MRS.    VORONA 

You  can't  understand  that. 

SYLVIA 

I  do  understand  it.  I  do.  And — I  pity  you.  .  .  . 
I  pity  you — because  it's  so  impossible.  ...  So  com- 
pletely impossible. 

MRS.    VORONA 

Do  you  think  you  can  prevent  it? 

SYLVIA 

You  are  going  to. 

MRS.    VORONA 

7  am?  Indeed  I  am  not.  .  .  .  He  loves  me.  See 
how  strong  your  motherhood  is  against  that. 

SYLVIA 

I  know.  .  .  .  Mother,  father,  honour,  career — noth- 
ing matters  compared  to  the  blinding  happiness  a 
stranger  can  bring  him.  .  .  .  Oh !  it  has  always  seemed 
that  God  has  denied  permanency  to  any  earthly  tie  so 
that  we  may  be  content  to  go  to  Him  at  the  end.  .  .  . 
Our  passions  wither.  Our  ambitions  fade.  .  .  .  Only 
love  can  endure  because  it  is  infinite.  ...  It  takes  us 
to  Him. 

MRS.    VORONA 

I  thought  you  were  that  kind.  .  .  .  The  kind  that 
believes  in  Him. 

[173] 


THE  HARP  OF  LIFE 

SYLVIA 

Don't  you? 

MRS.    VORONA 

No. 

SYLVIA 

I  can't  understand  that.  ...  I  don't  think  you  quite 
mean  it. 

MRS.    VORONA 

I  do  mean  it. 

SYLVIA 

A  great  grief  or  a  great  joy  brings  a  yearning  from 
the  soul:  an  indefinable,  spiritual  exaltation.  Our  hap- 
piness and  our  suffering  have  a  divine  quality.  And 
we  thrill  with  its  power  because  a  moment  of  eternity 
comes  to  us.  God  seems  to  be  near  us.  .  .  .  When 
we  love  He  seems  to  look  through  the  eyes  of  the  loved 
one. 

MRS.    VORONA 

Do  you  really  believe  that? 

SYLVIA 

I  do.  A  mother  touches  very  near  to  Heaven  in  the 
sleep  that  follows  the  torture  of  childbirth.  She  has 
looked  at  death  and  eternity  and  cried  up  to  her  Maker 
in  her  travail  .  .  .  and  her  prayer  is  answered  in  the 
dreamless  rest  that  brings  oh !  such  relief.  .  .  .  And 
she  wakes  to  find  the  crown  of  her  love  close  to  her 
arms.  .  .  .  No  other  such  glory  is  given  to  man  or 
woman.  .  .  .  No  emperor  can  know  it.  He  may  have 
the  power  of  death.  Woman  brings  life.  .  .  .  And 
from  that  power  He  has  given  woman  comes  the  divin- 
[174] 


Act  III:    MANHOOD 

ity  in  her  nature.  .  .  .  Perhaps  that  has  been  denied 
you  so  far?  .  .  .  Have  you  children? 

MRS.    VORONA 

No. 

SYLVIA 

Then  you  are  seeking  divinity,  something  so  far  miss- 
ing in  your  life,  through  my  son.  .  .  .  And  he  is 
touched  with  the  divine  pity  for  you. 

MRS.    VORONA 

It  may  be  divine  or  it  may  not — but  he  does  pity  me 
and  he  loves  me.  If  you  have  taught  him  the  Christ- 
like spirit,  and  have  it  yourself,  you  should  be  satisfied 
in  knowing  he  is  following  it. 

SYLVIA 

I  would  be — if  I  knew  he  had  it  in  perfection.  Then 
I  would  have  no  fear.  .  .  .  But  have  you  tested  his 
pity  for  and  his  faith  in  you? 

MRS.    VORONA 

Yes,  I  have. 

SYLVIA 

Completely  ? 

MRS.    VORONA 

Do  you  think  I'd  be  foolish  enough  to  build  my  hopes 
on  him  and  leave  it  to  a  hint  from  some  creature  like 
Saxon  to  throw  me  back  to  this? 

SYLVIA 

So  you  have  told  him? 

MRS.    VORONA 

A  good  deal.  .  .  .  I'll  tell  him  the  rest — in  time. 
[175] 


THE  HARP  OF  LIFE 

SYLVIA 

How  have  you  told  him?  How  will  you  tell  him  the 
rest? 

MRS.    VORONA 

How? 

SYLVIA 

Have  you  done  it  completely?  In  order?  Without 
extenuation?  Have  you  told  him  in  detail?  In  num- 
bers? Three- four-five — and  so  on  through  the  list  of 
your  experiences,  without  sparing  yourself?  Have  you 
beat  it  into  his  brain  that  he  is  the  last  of  a  number? 
Have  you?  ...  Or  did  you  cover  it,  and  grace  it  and 
embroider  it  and  weave  a  silken  mesh  of  words  around 
it?  .  .  .  Which  have  you  done?  .  .  .  Which  do  you  in- 
tend to  do?  .  .  .  You  don't  answer. 

MRS.    VORONA 

How  merciless  you  Christian  women  can  be ! 

SYLVIA 

I  don't  want  to  be.     Indeed  I  do  not.  .  .  .  But  I  do 
want  you  to  test  my  boy's  faith  in  you.     I  want  you  to 
give  a  bare,  truthful,  unvarnished  history  of  facts.  .  . 
Are   you  fair  enough,   brave   enough  to  do   that?  .  . 
There   is   a   horrible  nakedness   about   facts — numbers 
.  .  .  Have  you   done  that?  .  .  .  Will  you  do  it?  .  . 
I  see  you  haven't.     I  am  afraid  you  won't.  .  .  .  Mrs 
Vorona — no,  don't  turn  away — listen  to  me.     I'm  in  an 
agony  of  fear  for  Leonard.  .  .  .  I'm  helpless   against 
you.  ...  I  know  that.  .  .  .  But  think.     I  taught  him 
to  walk,  to  talk,  to  think,  even  to  love.     I've  been  nine- 
teen years  forming  a  man.  .  .  .  You've  known  him  a 

[176] 


Act  III:    MANHOOD 

few  weeks.  .  .  .  You  think  he's  been  created  by  God 
and  reared  by  me  solely  for  your  redemption.  To 
take  you  out  of  the  horror  you  have  been  living  in.  .  .  . 
My  faith  in  him  does  not  reach  so  far.  Not  quite  so 
far.  ...  To  do  that  a  man  must  have  not  only  pity, 
charity  and  love  but  above  all — understanding;  all  the 
divine  qualities.  Time  and  suffering  only  can  give  him 
all  those.  He  hasn't  them  yet.  And  I'm  frightened. 
.  .  .  Tell  him  the  truth.  Please  do.  ...  I  won't  fight 
against  the  marriage  then.  ...  If,  knowing  every- 
thing, his  knowledge  strengthens  his  love,  I'll  give  in. 
.  .  .  The  miracle  will  have  happened.  .  .  .  Love  will 
be  greater  than  knowledge  of  sin.  .  .  .  I'll  be  recon- 
ciled. .  .  .  Now  that  I  have  seen  you,  and  listened  to 
you  I  feel  not  only  pity  but  a  great  yearning  toward 
you — since  I  know  it  is  my  boy's  best  qualities  that 
have  attracted  you.  ...  I  am  pleading  to  you  ...  I 
have  no  anger.  No  scorn.  Only  sorrow.  Hope  .  .  . 
and — affection. 

MRS.    VORONA 

Affection? 

SYLVIA 

Yes.     From  the  bottom  of  my  heart  I  pity  you. 

MRS.    VORONA 

But  you're  a  believer.     A  Christian!     Doesn't  your 
creed  damn  us  eternally? 

SYLVIA 

Mine  doesn't. 

MRS.    VORONA 

Most  creeds  do.     They  hold  out  hope  to  the  wicked 
son   but   a   pit   of   flames   to   the   wandering   daughter, 
[177] 


THE  HARP  OF  LITE 

It's  waiting  for  me.  That's  why  I'm  an  unbeliever. 
...  Do  you  think  I  believe  I'm  to  be  eternally  tor- 
mented while  the  Saxons  and  their  tribe  sit  tuning  harps 
for  all  time?  I  don't.  .  .  .  And  if  I  did — if  I've  no 
hope  after  this  life  then  I'm  going  to  take  what  I  can 
here.  Give  me  faith  in  this  and  I  may  find  it  for  the 
next.  .  .  .  Leonard  may  give  me  that.  .  .  .  Affection! 
Pity!  Why  to  you  women  are  just  good  or  bad.  I'm 
bad,  so  down  to  the  pit. 

SYLVIA 

That  is  not  quite  fair.  .  .  .  To  some  women  goodness 
is  an  accident.  They  are  loved  and  protected  from  the 
opportunity  of  mistakes.  And  they  live  respectably  with 
undeserved  credit  for  doing  so.  That  kind  of  woman 
may  be  good  because  she's  never  had  the  temptation 
to  be  evil  .  .  .  Another  kind  of  woman  sees  the  futility 
of  viciousness.  The  hopeless  future;  the  impotent  and 
degraded  old  age.  She  chooses  the  better  life  because 
she  knows  it  is  wiser.  She  realizes  that  decency  is  re- 
warded even  to  the  grave,  and  on  through  all  the  gen- 
erations. She  also  sees  clearly  that  the  power  to  do 
evil  through  pleasure  is  taken  from  us  long  before  life 
is  spent.  But  our  loves  last  till  death.  .  .  .  Passion 
burns  out.  And  afterwards?  What? — A  hopeless, 
child-less,  remorseful  old  age  stretches  out  barrenly  to 
the  end.  .  .  .  You  were  unfortunate.  ...  I,  too,  might 
have  been.  But  for  my  happy  marriage  I  might  have 
been  even  worse.  .  .  . 

MRS.    VORONA 

.  .  .  Do  you  really  think  that? 
[178] 


Act  III:    MANHOOD 

SYLVIA 

Opportunity  or  necessity  help  to  make  us  what  we 
are.  .  .  .  There's  not  such  a  wide  difference  between 
women.  The  same  humanity  is  in  us  all.  Chance  de- 
cides for  us  often.  ...  It  was  kind  to  me.  .  .  .  My 
life  has  been  filled.  My  love  for  my  husband  and  his 
for  me.  My  life  has  been  complete.  .  .  .  Then  my 
boy  came.  Everything  a  mother  could  wish  her  son 
to  be  he  has  been.  He  is  part  of  me — greater  than 
husband  or  self.  .  .  .  Send  him  back  to  me.  ...  I 
beg  of  you.  ...  If  you  love  him 

MRS.    VORONA 

I  do. 

SYLVIA 

Then  put  that  love  first.  Protect  him  from  him- 
self. .  .  .  Tell  him  everything. 

MRS.    VORONA 

Suppose  I  do  and  he  still  loves  me  and  stands  by  me? 

SYLVIA 

Then  I'll  give  in.  .  .  .  You  will  have  done  what  is 
right. 

MRS.    VORONA 

.  .  .  But  if  he  turns  from  me  in  disgust?  In  loath- 
ing? .  .  .  And  you  think  he  will.  You  are  sure  he 
will!  Then  what  of  me?  .  .  .  He  is  the  only  value  in 
life  to  me  now.  .  .  .  Every  man  until  I  met  him, 
treated  me  as  one  of  many.  All  of  a  kind.  They've 
not  valued  me — me — me  !  The  something  beyond  the 
body.  .  .  .  He  does.  He  brought  me  his  love.  I  didn't 
seek  it  .  .  .  and  it's  mine!  ...  I'm  going  to  hold  it. 
[179] 


THE  HARP  OF  LIFE 

SYLVIA 

Very  well.  I  give  in.  You're  too  strong  for  me. 
.  .  .  But  if  pity  for  him  and  for  me  ever  comes  to  you 
do  the  gentle,  kindly,  womanly  thing.  Tell  him  every- 
thing. ...  It  will  make  you  bigger  and  finer  in  his 
eyes  in  the  years  to  come  when  he  knows  the  sacrifice 
you  made. 

MRS.    VORONA 

We  can  both  be  happy  without  that  sacrifice. 

SYLVIA 

My  last  plea:  what  future  can  you  have  together? 

MRS.    VORONA 

We'll  make  it. 

SYLVIA 

He  has  no  career  as  yet. 

MRS.    VORONA 

We'll  make  that,  too. 

SYLVIA 

You  would  cut  him  off  from  all  he's  loved  from  child- 
hood? 

MRS.    VORONA 

I'll  take  their  place.  Your  husband  filled  your  life. 
I'll  fill  his. 

SYLVIA 

That  is  your  last  word  ? 

MRS.    VORONA 

It  is.  .  .  .  And  I  warn  you  the  more  you  try  to  part 
us  the  more  he'll  cling  to  me.     I  know  him.  .  .  .  Try 

[180] 


Act  III:    MANHOOD 

to  take  him  away,  he'll  come  back  to  me.  Lock  him 
up  so  that  he  can't  see  me  and  the  moment  he  can  es- 
cape he'll  fly  back  to  me. 

SYLVIA 

I  don't  want  him  that  way.  He  would  be  all  resent- 
ment against  me.  It  would  be  no  longer  home.  .  .  . 
No.  I  want  him  to  leave  you  of  his  own  free  will  or 
not  at  all.  If  he  comes  back,  his  infatuation  for  you 
gone,  his  home  will  have  an  added  value.  .  .  .  And  he 
will  when  he  knows.  .  .  .  And  some  day  he  must  know. 
.  .  .  He'll  turn  from  you  then.  .  .  .  But  it  will  be  too 

late.     He'll  be 

[The  door  at  back  opens  and  Leonard  looks  in:  he 
is  excited  and  boyishly  exhilarated:  he  stops 
abruptly  when  he  sees  his  mother:  then  he  goes 
quickly  to  Mrs.  Vorona.] 

LEONARD 

Excuse  me  bursting  in  on  you  like  this.  I  didn't 
know  mother  was  here.  [Goes  to  his  mother.]  So  you 
couldn't  wait  for  me  to  introduce  you?  You  wanted  to 
see  Zeila.  [Proudly.]  Isn't  she  wonderful?  [Breath- 
lessly.] Wasn't  I  right?  Although  I  didn't  half  do 
her  justice,  did  I?  [Laughs  boyishly.]  You  didn't 
think  I  could  possibly  find  anyone  like  her,  did  you.^ 

SYLVIA 

[Faintly.]      No,  Leonard,  I  didn't. 

LEONARD 

[Going   to   Mrs.   Vorona.]     I    knew    she'd   be   sur- 
prised.    I  wish  I'd  been  here  to  present  you  to  each 
[181] 


THE  HARP  OF  LIFE 

other.     It  was   jolly  of  her  to  come   all  by  herself. 
Wasn't  it? 

MRS.    VORONA 

Very. 

LEONARD 

The    moment   she — and    father — heard    about   you — 
they  wanted  to  see  you  at  once. 

MRS.    VORONA 

Will    your    father    be    just    as    enthusiastic — and — 
jolly? 

LEONARD 

More.     He's  a  man. 

MRS.    VORONA 

When  shall  I  have  the  delight  of  meeting  him? 

LEONARD 

Now.     He's  downstairs. 

MRS.    VORONA       - 

Oh!     Is  he? 

LEONARD 

He  worried  me  into  bringing  him.     Do  you  mind? 

MRS.    VORONA 

Mind?     My  dear  boy,   I'm  sure  it  will  be  just  as 
jolly  as — this  meeting  has  been. 
[Looking  at  Sylvia.] 

LEONARD 

He'll  be  wild  about  you — simply  wild. 

MRS.    VORONA 

Won't  that  be  charming? 

[182] 


Act  III:    MANHOOD 

LEONARD 

And  you'll  be  about  him.  Just  as  I  can  see  you  are 
about  mother.  He's  an  awful  grouch  at  times,  but 
he's  really  very  good  fun  when  it's  all  over  .  .  .  can 
make  you  laugh  like  anything  when  he  wants  to.  May 
I  bring  him  up? 

MRS.    VORONA 

Do.     Bring  him  up. 

LEONARD 

[Rushing  out]  Thank  you  so  much.  I  won't  be  a 
second. 

MRS.    VORONA 

Does  your  husband  know  about  me? 

SYLVIA 

No.  He'd  gone  when  Mr.  Saxon  called.  He  knows 
nothing. 

MRS.    VORONA 

What  an  interesting  family  meeting  it's  going  to  be! 
Well,  his  profession  will  come  in  useful.  He  can  cross- 
examine  me.  [Bitterly.]  I  hate  lawyers.  Inquisi- 
tive, insulting  brutes ! 

[Leonard  re-enters,  breathlessly,  showing  in  his 
father.] 

BROOKE 

Well,  Sylvia.     I  didn't  expect  to  find  you  here. 

SYLVIA 

[Faintly.]     I  thought  I'd  come  to  meet  you. 

LEONARD 

Zeila,  this  is  my  father.     Father — this  is  Zeila. 
[183] 


THE  HARP  OF  LIFE 

BROOKE 

How  do  you  do?  [He  comes  forward  and  they  shake 
hands.  Mrs.  Vorona,  looking  keenly  at  him,  drops  his 
hand  and  turns  away  deilberately.  Brooke,  prepared 
to  be  enthusiastic  through  his  son's  preparation,  is  as- 
tonished at  her  appearance  and  chilled  by  her  manner. 
He  looks  from  her  all  round  the  room,  his  disapproval 
growing.]     So  this  is  where  your  presents  came  from? 

[Indicates  screen  and  bowl.] 

LEONARD 

[Laughing  gleefully.']  Rather!  Isn't  it  a  lovely 
room?  .  .  .  Aren't  I  lucky?  I  know  I  am.  Here  you 
all  are.  The  three  people  who  have  done  everything 
for  me.  .  .  .  Zeila,  what's  the  matter?  [He  turns 
eagerly  to  his  parents.  Brooke  is  looking  coldly  and 
disapprovingly  at  Mrs.  Vorona,  who  is  growing  an- 
grier every  moment  under  the  scrutiny.  Sylvia  has 
turned  away  to  avoid  Leonard's  eyes.  Leonard  looks 
from  one  to  the  other:  the  happiness  dies  away  as  the 
realization  grows  upon  him  that  all  is  not  right.  He 
looks  long  at  Sylvia.]  Mother!  How  long  have  you 
been  here? 

SYLVIA 

Not  long,  dear! 

LEONARD 

What  have  you  been  talking  about?  [With  a  forced 
laugh.]  I  suppose  you've  been  boring  her  about  me. 
You  always  do  if  anyone  will  listen,  don't  you? 

SYLVIA 

Yes,  I  suppose  I  have  been  boring  her. 
[184] 


Act  in:    MANHOOD 

LEONARD 

I  knew  it.  Poor  old  mother!  [To  Mrs.  Vorona.] 
I've  been  her  main  topic.     Now,  you're  going  to  be. 

MRS.    VORONA 

I  think  I  am.  .  .  .  Your  mother  doesn't  quite  ap- 
prove of  me. 

LEONARD 

[Amazed.]     Not  approve? 

MRS.    VORONA 

I  rather  think  your  father  doesn't,  either.  ...  I'm 
sure  he  hates  my  room.      [To   Brooke.]      Don't  you? 

BROOKE 

I've  not  said  so. 

MRS.    VORONA 

You've  been  looking  at  it  as  though  it  hurt  you.  .  .  . 
Leonard,  in  your  mother's  opinion  I  am  not  the  kind 
of  woman  to  make  you  happy. 

LEONARD 

[Angrily  turns  on  his  mother.]  Why  did  you  say 
that? 

MRS.    VORONA 

She  really  came  to  ask  me  to  send  you  back  to  your 
family. 

LEONARD 

[Stunned:  to  Sylvia.]     Did  you? 

BROOKE 

[Grasping  that  something  is  very  wrong.]  What  is 
all  this,  Sylvia? 

[185] 


THE  HARP  OF  LIFE 

LEONARD 

Send  me  back?  .  .  .  Why?  .  .  .  What  right  have 
you  to  interfere? 

BROOKE 

Gently,  my  boy.  If  it  comes  to  that  we  both  have  a 
right — if  there's  any  occasion. 

LEONARD 

[Hotly.]     No,  you  haven't. 

BROOKE 

[Commandingly.]  Leonard!  ...  [To  Sylvia.]  What 
is  wrong? 

LEONARD 

Yes — what  is  wrong?  .  .  .  Why  don't  you  answer? 

BROOKE 

Come,  dear. 

SYLVIA 

[Caught  between  the  two  -fires,  glances  at  Mrs. 
Vorona  and  says  quietly.']     Ask  her. 

LEONARD 

We're  asking  you.  .  .  .  Why  did  you  come  here  at 
all  without  me?  And  then  make  a  fuss?  ...  It  was 
a  rotten  thing  to  do. 

BROOKE 

Don't  you  speak  to  your  mother 

LEONARD 

[Distractedly  turns  to  Mrs.  Vorona.]  What  else 
did  my  mother  say?  [To  his  mother.]  Why  should 
you  interfere?  .  .  .  Won't  either  of  you   speak?  .  .  . 

[186] 


Act  III:    MANHOOD 

I  came  in  here  quite  happy.  I  thought  you'd  both  be 
so  proud  of  Zeila.  [Entreatingly  to  Mrs.  Vorona.] 
Please  tell  me  what  she  said. 

MRS.    VORONA 

Amongst  other  things,  Leonard, — that  I'm  not  good 
enough  for  you. 

LEONARD 

Not  good  enough!     Why  did  you  say  that? 

BROOKE 

Really,  it's  very  bewildering.  This  lady  is  entitled 
to  some  consideration,  Sylvia. 

LEONARD 

[To  Mrs.  Vorona.]  I'm  sorry  if  mother  said  any- 
thing to  hurt  you.  ...  [To  Sylvia.]  If  that  is  why 
you  came,  it  was  a  contemptible  thing  to  do. 

SYLVIA 

[In  distress.]      Don't,  Leonard.     Don't. 

BROOKE 

Now  look  here,  Leonard,  if  you  dare  to  speak  to  your 
mother 

LEONARD 

It  if  contemptible.  To  try  and  put  doubts  in  Zeila's 
mind.  I  tell  you,  rather  than  leave  her  I'd  never  see 
either  of  you  again.     Never! 

SYLVIA 

[Deeply     hurt.]     Leonard!     Don't     say     that.  .  .  . 
Do  as  you  please.     Marry  her  if  you  wish  but  never 
[187] 


THE  HARP  OF  LIFE 

say  that  to  me  again.  ...  I   don't  quite   deserve  it. 
[To  Brooke.]      Come,  dear. 
[She  is  now  crying  bitterly. ] 

BROOKE 

Wait.  .  .  .  Why   aren't  you  in  favour  of  this   mar- 
riage? .  .  .  Well? 

SYLVIA 

I  don't  want  to  say  any  more. 

BROOKE 

You    must    have    some    good    reason    for    objecting. 
What  is  it? 

SYLVIA 

That  is  all  I  am  going  to  say  now. 

BROOKE 


But  Sylvia- 


LEONARD 

BROOKE 

MRS.  VORONA 


You've  got  to— 
Be  quiet. 
I'll  tell  you. 

BROOKE 

I  wish  you  would  be  so  good,  Miss- 

MRS.    VORONA 

Mrs.  Vorona. 

BROOKE 

Mrs.? 

MRS.    VORONA 

Yes.     Didn't  you  know? 

BROOKE 

I  did  not. 

[Looks  questioningly  at  his  son."] 
[188] 


Act  III:    MANHOOD 

MRS.    VORONA 

Why,  Leonard!     Didn't  you  tell  your   father?  .  .  . 
Oh,  yes.     I've  been  married  .  .  .  and  divorced. 

BROOKE 

Indeed  ? 

[Looks  at  her  keenly  then  turns  to  Leonard.] 

LEONARD 

I  told  mother  this  morning. 

BROOKE 

You  didn't  tell  me. 

LEONARD 

Well?     What  of  it?     A  woman  has  a  perfect  right 
to  divorce  a  man  who  treats  her  shamefully. 

BROOKE 

But  I 

MRS.    VORONA 

[Cutting   in.~\     My  husband  treated  me   shamefully 
...  he  divorced  me. 

BROOKE 

What? 

LEONARD 

[Aghast.]     Zeila!     [Then  hurriedly.']     But  you  were 
innocent?  .  .  .  Of  course  you  were  innocent? 

MRS.    VORONA 

The  jury  didn't  seem  to  think  so.  .  .  .  My  husband 
won  the  case. 

BROOKE 

Then  you  defended  it? 

[189] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

Oh  dear,  yes.     For  weeks. 

BROOKE 

[Thinking.]     Vorona!     [Looking    straight    at    her,'] 
Vorona  versus  Vorona  and  Saxon? 

MRS.    VORONA 

That's  right. 

BROOKE 

I  remember  the  case  perfectly. 

MRS.    VORONA 

You  ought  to.     You  were  offered  the  defence  by  the 
co-respondent's  father. 

BROOKE 

I  was. 

MRS.    VORONA 

And  you  refused  it. 

BROOKE 

I  did.     I  detest  such  cases. 

MRS.    VORONA 

[Sneeringly,  and  angrily.]     Especially  when  an  old 
friend's  son  is  involved! 

BROOKE 

There  was  no  real  defence.     I  went  through  the  evi- 
dence. 

MRS.    VORONA 

It  certainly  looked  bad  for  me,  didn't  it?     And  for 
Ormonde. 

BROOKE 

[Growing  angrier  and  more  disgusted  every  moment.] 
Yes,  it  did.     You  never  should  have  defended  it. 
[190] 


Act  III:    MANHOOD 

LEONARD 

Father. 

MRS.    VORONA 

He's  right/  Leonard.     We  hadn't  a  chance.    Had  we  ? 

BROOKE 

[Looking  furiously  at  her.]      No. 

MRS.    VORONA 

[Looking  straight  at  Brooke;  her  one  desire  to  hurt 
him.]     You're  in  old  man  Saxon's  house  now. 

BROOKE 

What?     [Right  up  to  her;  under  his  breath.']     You 
are  living  here  with ? 

MRS.    VORONA 

Ormonde?     Yes.     At  least,  I  was  until  three  weeks 
ago. 

[Leonard  stands  dazed  and  horror-stricken.] 

BROOKE 

[Livid  with  rage,  crosses  to  Leonard.]      How  dare 
you  think  of  bringing  such  a  woman  into  my  family? 

LEONARD 

[In  blind  fury.]     Don't  you  say  a  word  against  her. 

BROOKE 

From  her  own  confession  there  is  only  one  word  you 
can  use. 

LEONARD 

Don't  say  it !     Don't  say  it ! 
[191] 


THE  HARP  OF  LIFE 

BROOKE 

So  this  is  the  wife  you  have  chosen !  You  came  from 
a  woman  like  that  to  your  home!  You  even  copy  her 
garish  stuff  and  sneak  it  into  my  house  on  the  pretext 
that  it  is  artistic!     You  young  whelp! 

SYLVIA 

[Goes  quickly  between  them,  puts  her  arm  protect- 
ingly  round  Leonard,  and  cries  distractedly.']  Don't 
you  call  my  son  names.  Don't  blame  him  for  this.  If 
you  didn't  choose  to  tell  him  about  life  and  he's  made  a 
mistake,  don't  turn  round  now  and  abuse  him.  [To 
Leonard  hysterically.]  Leonard,  you're  perfectly  free 
to  do  whatever  you  wish.  Marry  her  if  you  like.  Any- 
thing. Only  don't  ever  say  you  never  want  to  see  me 
again.  Don't  say  that.  Don't  think  it.  Because 
you're  everything  to  me — everything. 

[Completely  breaks  down  and  sits  on  sofa  crying  and 
sobbing.] 

LEONARD 

[Half -hysterically .  Goes  to  his  mother.]  Don't 
mother,  don't. 

BROOKE 

[Amazed  at  the  fury  of  her  outburst,  changes  his 
whole  manner,  goes  to  her  to  try  to  calm  her,  stands 
about  her,  his  words  come  haltingly.]  Sylvia!  My 
dear !  I  was  only  thinking  of  you.  Only  of  you !  Oh, 
everything  has  suddenly  become  all  wrong.  Don't — 
don't  let  us  quarrel.  It's  the  first  time  you've  ever 
spoken  to  me  like  this.  Sylvia !  Stop !  Stop !  I'll  let 
him  do  anything  he  pleases.  You're  first  with  me. 
[192] 


Act  III:    MANHOOD 

Leonard  is  with  you.  He  can  do  anything,  but  you 
mustn't  suffer.  [To  Leonard.]  Do  what  you  please. 
Anything.  [To  Sylvia.]  There.  [All  through  this 
speech  Sylvia  sobs  between  his  sentences.  Occasion- 
ally Leonard  tries  to  speak.  Finally  Brooke  puts  his 
hand  on  Sylvia's  arm  and  pleads  almost  in  a  •whisper.'] 
Come.  Let  us  go.  [Both  go  up  to  door  and  look  round 
at  Leonard,  who  turns  away  from  them  and  looks  at 
Mrs.  Vorona,  bewildered  by  the  rapidity  of  the  emo- 
tional outbursts.]  Come,  Leonard. 
[Leonard  does  not  move.] 

MRS.  vorona 
Just  a  minute,  Mrs.  Brooke.  [To  Leonard.]  Don't 
turn  away  from  your  mother  like  that,  Leonard.  We've 
had  a  long  talk  about  you.  She's  made  me  rather  curi- 
ous. Come  here,  Leonard.  [Leonard  goes  to  her.]  I 
wonder  how  deep  is  the  faith  of  nineteen — your  mother 
tells  me  you  are  only  nineteen.  [Leonard  looks  re- 
proachfully at  his  mother.]  I  want  to  tell  you  a  few 
things  about  myself.  You'll  have  to  know  them  some 
time.     You'd  better  hear  them  now. 

SYLVIA 

No.  I  didn't  realize  he  cared  so  much  that  he  could 
tell  me  he  didn't  want  to  see  me  again — I  don't  want  to 
talk  of  this  any  more. 

MRS.    VORONA 

I  want  to. 

SYLVIA 

Not  now.     I  won't  have  Leonard  tortured. 
[193] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

Yes,  now. 

SYLVIA 

[Taking  her  son  by  his  arm:  breathlessly:]  Come, 
Leonard. 

MRS.    VORONA 

Leonard.  [Leonard  releases  himself  from  his  moth- 
er's grasp  and  turns  to  Mrs.  Vorona.]  I've  been  rather 
unlucky  in  my  affections.  In  fact,  very  unlucky.  .  .  . 
I  began  about  your  age  .  .  .  really  a  year  younger 
.  .  .  eighteen.  ...  At  eighteen  I  was  impulsive,  head- 
strong, impossible.  I  wanted  more  than  anything  to 
travel.  As  my  parents  couldn't  take  me  I  had  to  find 
others  who  would.  So  at  the  delicate  age  of  eighteen  I 
started  wandering.  .  .  .  Some  one  had  to  pay  the  bills. 
I  couldn't.  So  I  made  friends.  One  took  me  South,  an- 
other East,  a  third  through  Central  Europe.  While  in 
Italy  with  the  fourth — or  it  may  have  been  the  sixth, 
I've  really  forgotten  for  the  moment — I  met  Vorona, 
in  Rome.  All  the  others  seemed  content  to  separate 
and  go  their  own  ways  when  we  were  mutually  bored. 
He  didn't.  He  insisted  on  marrying  me — just  as  you 
do.  So  my  wandering  ended  and  I  settled  down  .  .  . 
for  a  while.  ...  It  didn't  last  very  long.  .  .  .  What 
happened  after  that  you  know.  Since  my  divorce  I've 
been  living  here.     And  in  addition 

LEONARD 

[In  agony.]  I  don't  want  to  hear  any  more.  I  don't 
want  to  hear  it. 

[194] 


Act  III:    MANHOOD 

MRS.    VORONA 

So  you  don't  want  to  hear  it?      [To  Sylvia.]      He 
can't  even  listen. 

SYLVIA 

Don't — don't. 

MRS.    VORONA 

There  mustn't  be  any  misunderstanding.  ...  I  am 
in  a  self-revealing  mood — I  want  you  to  know  the  real 
me.  .  .  .  Leonard,  I've  always  put  my  best  goods  in 
the  window  for  you.  Now  I  feel  like  telling  you  of  the 
stuff  inside.  ...  I  have  an  appalling  temper.  A  de- 
structive one.  .  .  .  You  mustn't  take  any  notice  of  me 
when  I'm  like  that.  Let  me  alone  until  it's  over.  .  .  . 
It  would  be  a  good  time  to  go  to  your  mother  and  have 
a  little  quiet.  .  .  .  Ormonde  always  used  to  dash  off  at 
the  first  sign.  .  .  .  Outside  of  that  I'm  fairly  agree- 
able— except  that  I'm  jealous,  capricious,  extravagant 
and  intensely  selfish.  .  .  .  But  you'll  get  used  to  those 
things.  You're  a  dear  boy  and  I  know  you'll  make  al- 
lowances. Personally  I  never  do  for  anything  or  any 
one.  ...  I  insist  on  everyone  putting  me  first  and  never 
expecting  anything  in  return.  .  .  .  Whenever  they 
didn't  like  it  that  way  they  could  get  out.  ...  Of 
course  when  you're  married  it's  somewhat  different.  .  .  . 
Still  you'll  always  have  your  mother  to  go  to.  .  .  . 
Now  you  know  the  worst  of  me.  .  .  .  Beyond  that  I'm 
really  rather  likeable.  Not  quite  as  much  as  you  think 
me — still  likeable  .  .  .  and  very  expensive.  .  .  .  You 
will  have  to  paint  hard  and  often  to  keep  me  the  way 
I'm  accustomed  to  being  kept.  I  can't  bear  to  be  de- 
[195] 


THE  HARP  OF  LIFE 

prived  of  anything.  It  puts  me  into  shocking  tem- 
pers. .  .  .  Still  if  you  don't  make  enough,  I  daresay 
your  father  will  come  to  our  assistance — as  Ormonde's 
did.  .  .  .  Now  you  know  all  about  me.  [To  Brooke.] 
And  you.      [To  Sylvia.]     Are  you  satisfied? 

SYLVIA 

Are  you?     Look. 

[Leonard  has  thrown  himself  into  a  chair,  his  hands 
over  his  eyes.  As  the  cold,  bitter,  unemotional 
tone  of  Mrs.  Vorona's  voice  ceases  he  takes  his 
hands  slowly  from  his  eyes  and  looks  up.  A 
change  has  taken  place  in  him:  he  seems  to  have 
aged:  to  have  passed  in  a  few  moments  from  boy- 
hood to  manhood:  he  rises  unsteadily  and  stands 
looking  at  Mrs.  Vorona,  his  eyes  glaring,  his 
breath  coming  thickly.'] 

LEONARD 

So  you  have  been  just  amusing  yourself  with  me. 
...  I  couldn't  make  an  animal  suffer  as  you've  made 
me.  ...  A  little  while  ago  I  was  happy.  I  was  a 
boy.  .  .  .  My  parents  were  meeting  the  woman  I  wor- 
shipped. ...  I  shall  never  know  youth  again.  ...  I 
seem  to  have  grown  old.  Quite  old.  .  .  .  Why  did  you 
do  it?  .  .  .  Why  did  you  let  me  care  for  you  if  that  is 
all  the  feeling  you  have  for  me? 

MRS.    VORONA 

My  dear  boy,  after  all,  you  love  me  as  I  am.  What 
does  it  matter  what  I  was? 

[196] 


Act  III:    MANHOOD 

LEONARD 

Behind  everything  you  said  I  heard  the  sneer,  the 
gibe,  the  almost  brazen  glory  in  telling  it.  .  .  .  It's  on 
your  face  now.  You're  laughing  at  me!  Laughing  at 
me! 

MRS.    VORONA 

Really,  Leonard 

LEONARD 

You  are!  You  are!  I  heard  the  scoff  in  the  meas- 
ured, deliberate  tones  of  your  confession.  Not  a  shred 
of  regret.  No  shame.  No  sorrow.  As  though  you 
were  telling  of  some  other  woman.  You  seemed  to 
take  pleasure  in  hurting  me;  bruising  me. 

MRS.    VORONA 

Where  was  the  use  of  mincing  things?  Embroider- 
ing them?  Covering  them  in  a  silken  mesh?  I  have 
given  you  facts  and  numbers.  If  we're  going  to  spend 
our  lives  together  you  must  know  me  intimately.  I 
tried  to  be  honest  with  you.  To  hide  nothing. — I  dare- 
say I'll  remember  more  when  I've  had  time  to  look 
back  carefully.  .  .  .  For  instance — when  I  was  in 

LEONARD 

Don't!     Don't! 

MRS.    VORONA 

Well,  of  course;  if  you're  going  to  make  a  fuss  over 
a  few  little  things 

LEONARD 

Little  things?     Is  that  how  you  look  at  them? 
[197] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

How  else  should  I  ?  .  .  .  As  a  matter  of  fact  I  hadn't 
thought  about  them  for  years.  .  .  .  You're  very  un- 
grateful. .  .  .  Isn't  he,  Mrs.  Brooke?  I  bare  myself 
as  I've  never  done  for  anyone  and  he  reproaches  me. 
.  .  .  I'm  disappointed  in  you,  Leonard.  Very  disap- 
pointed. 

LEONARD 

Where  is  your  gentleness  and  tenderness  of  yes- 
terday ? 

MRS.    VORONA 

Yesterday  I  felt  gentle.  Just  now  I'm  rather  upset 
at  all  this  questioning  and  shouting  and  crying.  We're 
all  so  emotional.  It  would  distract  anyone.  ...  So 
far  you've  taken  me  as  you  found  me  and  we've  been 
quite  happy  together.  .  .  .  To-morrow  I  may  be  in  the 
most  horrible  rage.  In  fact,  I  feel  it  coming  on  now 
if  your  father  continues  to  glare  at  me  in  that  insult- 
ing way.  ...  I  don't  like  your  father,  Leonard.  .  .  . 
We  mustn't  see  much  of  him,  unless  he  treats  me  courte- 
ously and  considerately,  as  a  woman  in  my  position 
demands  to  be  treated — as  I  know  you  will  treat  me. 

LEONARD 

[Feebly  beating  one  hand  against  his  other.]  I  pic- 
tured things  so  differently!     So  differently! 

MRS.    VORONA 

You  poor  boy. 

LEONARD 

Boy!  That's  it!  That's  how  you  think  of  me  now 
you  know   my  real   age.  .  .  .  You   taunt   me   with   my 

[198] 


Act  III:    MANHOOD 

youth.  Yesterday  you  were  proud  of  it.  You  thought 
I  was  twenty-three.  You  said  youth  was  the  only  thing 
in  life  worth  fighting  to  hold.  Now  you  reproach  me 
with  it. 

MRS.    YORONA 

Do  you  expect  me  to  be  always  paying  you  compli- 
ments because  you're  younger  than  I  am?  .  .  .  There 
may  be  times  when  I'll  hate  you  for  it. 

LEONARD 

I  feel  you've  never  loved  me.     I've  just  amused  you. 

MRS.    VORONA 

[Laughing  harshly.]  You're  really  very  funny  to- 
day. 

LEONARD 

Funny! 

MRS.    VORONA 

Yes.  In  a  boyish  way.  Sometimes  I've  liked  it. 
Just  now  it's  rather  ludicrous.  ...  I  tell  you  a  few 
little  things 

LEONARD 

Little  again!     Little! 

MRS.    VORONA 

I'm  afraid  you  don't  know  yourself  yet,  Leonard. 
At  the  sudden  contact  with  knowledge — of  a  certain 
kind — you  seem  to  ring  hard.  It  frightens  you.  Dis- 
gusts you.  .  .  .  Vorona  was  very  like  that,  too.  .  .  . 
So  we  parted.  .  .  .  Take  care,  Leonard. 

LEONARD 

I  don't  seem  to  recognize  you. 
[199] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

I  rather  think  you're  repenting  of  your  bargain.  .  .  . 
Perhaps  I  am,  too.  .  .  .  You  annoy  me  to-day.  Irri- 
tate me.  .  .  .  Suppose  we  both  own  up?  Admit  we've 
made  a  mistake?  It  isn't  a  very  serious  one.  Nothing 
like  as  serious  as  some  I've  made.  .  .  .  I've  got  over 
them.  I'll  get  over  this.  .  .  .  And  as  youth  is  one  long 
mistake,  you'll  soon  get  over  it,  too.  .  .  .  You've  got 
a  dear  mother  to  go  back  to.  ...  I  don't  envy  you 
your  father.  .  .  .  There.  .  .  .  No  harm  done.  ...  At 
least  very  little.  .  .  .  Put  all  the  blame  on  me.  .  .  . 
Take  it  like  a  little  man. 

LEONARD 

[Moans.]  My  heart  is  like  lead.  It  hurts  me. 
Hurts. 

MRS.    VORONA 

I  know  that  feeling.  I've  had  it  often.  .  .  .  Espe- 
cially at  night.  .  .  .  Then  I've  waked  in  the  morning, 
had  my  coffee,  glanced  at  the  newspaper  and  found  the 
world  had  been  running  around  just  the  same  quite 
regardless  of  me.  ...  So  I  began  all  over  again,  re- 
gardless of  it.  .  .  .  When  you  get  to  my  age  you'll 
find  that's  all  life  amounts  to.  Just  a  lot  of  beginnings- 
all-over-again. 

LEONARD 

[Burying  his  face  in  his  hands.]  You  don't  love 
me !     You  don't  love  me ! 

MRS.    VORONA 

You  begin  all  over  again,  Leonard.  [Turns  to 
Sylvia.]      Take  him  back.  .  .  .  He's   yours   again. 

[200] 


Act  III:    MANHOOD 

SYLVIA 

[Looks  at  Mrs.  Vorona  gratefully.  She  understands 
why  Mrs.  Vorona  has  sacrificed  her  affection  for  Leon- 
ard. She  goes  to  her  son  and  puts  her  arm  around  him. 
He  is  sobbing  bitterly.]  Leonard!  .  .  .  Don't  cry, 
Len. 

LEONARD 

[Through  his  sobs.]  Oh,  mother,  she  doesn't  love 
me.     She  doesn't  love  me. 


[Whispering  to  him,  soothing  him  as  though  he  were 
a  child.]  Ssh!  Ssh!  .  .  .  Don't  do  that.  .  .  .  Every- 
thing will  be  just  the  same.  .  .  .  I'll  help  you  to  for- 
get it.  .  .  .  And  you  will. 

LEONARD 

She  was  laughing  at  me!     Laughing  at  me! 

SYLVIA 

Ssh !  Ssh !  You  came  to  me  as  a  child  when  you 
were  hurt.  Now  you're  a  man.  .  .  .  Come  to  me,  Leon- 
ard— as  a  man. 

LEONARD 

[In  a  whisper.]  Oh,  mother,  I'm  so  ashamed. 
Ashamed! 

SYLVIA 

Ssh !  Ssh  !  You'll  look  at  everything  differently  to- 
morrow. .  .  .  All  life  is  before  you.  .  .  .  You're  only 
in  its  morning.  .  .  .  Come,  Leonard.  Come  home  with 
your  poor  old  mother. 

[201] 


THE  HARP  OF  LIFE 

LEONARD 

[Helplessly.]  Take  me  away.  [He  rises:  tries  to 
throw  off  his  shame  and  dejection.]  It's  all  over.  Not 
going  to  cry  any  more.  [Trying  to  laugh.]  It's  all 
right,  old  lady.  Quite  all  right.  .  .  .  Let's  go  home. 
.  .  .  [Goes  to  door:  stops:  looks  at  Mrs.  Vorona.] 
May  I  see  you  again? 

MRS.    VORONA 

When  you've  quite  grown  up.  We'll  have  a  good 
laugh  together. 

LEONARD 

May  I  write  to  you? 

MRS.    VORONA 

Good  lord,  no.  I  hate  reading  letters.  And  I  never 
answer  them. 

LEONARD 

[Bitterly.]  You  don't  want  to  hear  from  me  or  see 
me? 

MRS.    VORONA 

No.     Ta-ta! 

[Turns  away  and  walks  across  the  room.] 
[Leonard  goes  out  abruptly.     Sylvia   turns  to  her 
husband.] 

SYLVIA 

Marshall,  I  want  you  to  say  something  to  her — I 
want  you  to  thank  her. 

BROOKE 

Thank  her?  For  what?  Leonard  has  had  a  very 
lucky  escape. 

[202] 


Act  III:    MANHOOD 

SYLVIA 

Don't  you  know  why  she  did  that? 

BROOKE 

No.     Why? 

SYLVIA 

Because  I  asked  her  to. 

BROOKE 

You  asked  her? 

SYLVIA 

Yes.  She  did  that  to  send  him  back  to  us.  And 
she  has-  I  want  you  to  speak  to  her,  dear.  Thank 
her. 

BROOKE 

[Hesitates:  then  goes  to  Mrs.  Vorona.]  Mrs. 
Vorona.  [She  turns  to  him.]  I  am  extremely  sorry 
for  my  rudeness  to  you.  I  was  quite  in  the  dark  about 
things.  I  offer  you  my  sincere  apology.  .  .  .  Will  you 
accept  it? 

MRS.    VORONA 

No. 

BROOKE 

I'm  afraid  it  was  too  much  to  expect.  At  any  rate, 
do  please  accept  my  gratitude — my  sincerest  gratitude 
— for  your  splendid  generosity.  It  was  fine  of  you. 
[Mrs.  Vorona  makes  no  sign.  Brooke  turns  to 
Sylvia.]  What  more  can  I  do?  Put  it  right  if  you 
can,  you  wonderful  woman. 

[Goes  out.] 

SYLVIA 

[Looking  gratefully  at  Mrs.  Vorona.]     Thank  you! 
[203] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

So  Leonard's  gone.  .  .  .  Gone  out  of  my  life.  .  .  . 
I  always  would  upset  things  on  a  moment's  impulse. 
.  .  .  Your  husband  plunges  me  into  temper,  you  into 
pity,  and  I  throw  over  my  one  chance  of  happiness.  .  .  . 
Well,  ft  couldn't  have  lasted.  ...  I  suppose  it's  my 
punishment — to  meet  Leonard  now  instead  of  when  I 
was  eighteen.  .  .   .  Do  you  know  why  I  gave  him  up? 

SYLVIA 

No. 

MRS.    VORONA 

I  don't  know,  myself.  Unless  it  was  that  I  saw  you 
suffer  more  in  this  room  than  /  have  in  my  whole  life. 
You  made  me  very  sorry  for  you.  [There  is  a  pause. 
Then  in  a  very  angry  tone.]  If  that  husband  of  yours 
had  come  instead  of  you  I'd  have  stuck  to  Leonard, 
and  I  could  have  made  him  stick  to  me. 

SYLVIA 

I  know  that. 

MRS.    VORONA 

What  a  mess  you've  made  of  your  life !  .  .  .  With 
your  looks  and  style  and  spirit,  oh  my,  what  a  time 
you  could  have  had!  You  might  have  been  another 
Lady  Hamilton — or  a  Nell  Gwynne.  Gone  down  into 
history  with  the  best  of  us,  instead  of  being  chained  up. 

SYLVIA 

Some  women  love  their  chains.  I  adore  my  husband. 
I  worship  my  boy. 

MRS.    VORONA 

Why,  you've  given  all  your  young  pretty  years  in 
the  service  of  two  male  tyrants.     You  poor  thing! 

[204] 


Act  III:    MANHOOD 

SYLVIA 

And  your  young  pretty  years? 

MRS.    VORONA 

At  least  no  one  owns  me. 

SYLVIA 

How  forlorn  that  must  make  you  feel.  Not  to  be- 
long to  anyone,  but  to  everyone.  To  have  the  world 
at  your  command  while  you're  still  healthy  and  radiant, 
and  only  a  paid  servant  at  your  bedside  when  you're 
ill.  To  have  given  your  womanhood  to  man's  pleasure 
and  never  to  have  known  his  tears.  .  .  .  Th^  joy  of 
making  just  one  man  completely  yours.  You  poor 
thing.  .  .  .  My  dear,  it's  no  victory  to  hold  a  man  for 
an  hour,  a  day,  a  year.  Many  women  of  little  talent  or 
charm  have  done  that.  But,  if  after  twenty  years  of 
married  life  a  man  still  says:  "You  wonderful  woman" 
.  .  .  I  think  I  have  a  little  to  brag  about,  don't  you? 

MRS.    VORONA 

You're  a  funny  person.  Leonard  and  you  seem  to 
pop  out  of  each  other  all  over  the  place.  You're  both 
children.  [Reflectively.]  Still,  that's  nothing  against 
you.  .  .  .  After  all,  most  of  the  great  mistresses  were 
very  feminine  and  childlike. 

SYLVIA 

So  are  all  great  mothers. 

MRS.    VORONA 

You've  missed  your  vocation. 

SYLVIA 

[Shaking   her  head.]      No.     I've   found  it.      [Holds 
out  her  hand.]     God  bless  you ! 
[205] 


THE  HARP  OF  LIFE 

MRS.    VORONA 

Do  you  think  He  will? 

SYLVIA 

Yes. 

MRS.    VORONA 

[Curiously.]      Why? 

SYLVIA 

Because  He  does  understand. 

MRS.    VORONA 

[Takes  her  hand.]      That's  nice  of  you.     Take  care 
of  Leonard. 

SYLVIA 

I  will. 

[Goes  to  door.] 

MRS.    VORONA 

[To  Sylvia  at  door.]     Good-bye,  Nell  Gwynne. 

[Sylvia  turns  in  doorway,  smiles  back  at  Mrs. 
Vorona,  and  goes  quietly  out.  Mrs.  Vorona 
stands  thinking  a  moment,  gives  a  gesture  as  if  try- 
ing to  dismiss  the  whole  thing,  moves  aimlessly  to 
lounge.  Slowly  lies  on  it,  and  puts  arms  up  above 
her  head.  She  lies  there  staring  into  the  past. 
Her  future  is  now  just  a  blur.  She  covers  her  eyes 
as  though  to  shut  out  the  hideous  phantoms.  A 
great,  heart-broken  sob  escapes  her.  It  is  as  the 
cry  of  a  lost  soul.] 

THE  END  OF  THE  PLAY 


[206] 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 

IHar'eW1* 

REC'D  LD 

APR  2  ?  1961 

BSJMfi;'0         u-aggta-. 

yB  3(886 


69G 


f^  f  ft 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


